Become a Better Photographer Part I: Tips & Tricks For Taking Amazing Photos With Any Camera | Bernie Raffe AMPA | Skillshare

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Become a Better Photographer Part I: Tips & Tricks For Taking Amazing Photos With Any Camera

teacher avatar Bernie Raffe AMPA, Award winning photographer and teacher

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

26 Lessons (2h 20m)
    • 1. Course Introduction

    • 2. Top Shade, the professional's portrait lighting secret

    • 3. Dealing with the sun when taking a portrait

    • 4. Understand the direction of light and the effect it has on your photos

    • 5. Get nice blue skies in your photos and avoid white skies

    • 6. How to retain the ambient light of a nicely lit room

    • 7. Better indoor portraits using window light - pt 1 of 2

    • 8. Better indoor portraits using window light - pt 2 of 2

    • 9. Create a great look using backlighting

    • 10. How to improve your natural light portraits using a reflector

    • 11. Use the rule of thirds for improved composition

    • 12. Better composition using diagonal lines

    • 13. Use 'Leading Lines' to create more dramatic images

    • 14. Use repeating patterns for more impact

    • 15. Improve your composition using the 'frame within a frame' trick

    • 16. Blur the background for more impact (DSLRs)

    • 17. Blur the background to isolate your subject (Compact Cameras)

    • 18. Don't let cluttered backgrounds ruin your portraits

    • 19. Improve your portraits using unusual backgrounds

    • 20. Improve your portraits using nature's own abstract backgrounds

    • 21. Flatter your individual subject with these full length posing tips

    • 22. Family or small group poses - Pt I Standing poses

    • 23. Family or small group poses - Pt II Seated poses

    • 24. Individual natural and relaxed female poses

    • 25. Ideas for photographing children, 4-6 months old

    • 26. Ideas for photographing children, 9-12 months old

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About This Class


Learn how to use great composition, light and posing to improve your photography. It's really quite amazing how you can get more creative and dramatic photos just with a better understanding of the basic principles.

What You'll Learn

  • Using Natural Lighting. How to work with natural light and to deal with the sun
  • Improving Your Composition. How to use composition to take more dramatic and creative images.
  • Tips on Posing for Portraits. How to flatter your family and friends with some great posing tips (individual and group posing)

London's Embankment Station


What You'll Make

In this class you will apply advanced techniques to your photography. You will take a series of portraits and landscape photographs that will significantly improve your personal shooting style. At each stage in your process you will have the opportunity to share your work with the rest of the students enrolled in this class and receive feedback on your development.

A trader at London''s Camden Market


Meet Your Teacher

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Bernie Raffe AMPA

Award winning photographer and teacher


Award winning portrait & wedding photographer

I'm a retired professional photographer based in Bedfordshire UK, and have been passionate about photography ever since my parents bought me my first camera when I was just 11 years old (a Kodak Brownie 127)!

I'm qualified as a photographer to 'Associate' level with both the MPA (Master Photographers Association), and the SWPP (Society of Wedding and Portrait Photographers) in the UK.

I'm also a guest speaker on cruise ships, and was also in demand as a speaker to other professionals and to beginner and keen amateurs at camera clubs...

I love to share my passion for photography, and these entertaining and informative films will demonstrate, without blinding you with science, how you can be a better photograph... See full profile

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2. Top Shade, the professional's portrait lighting secret: In this film, I'm going to show you a terrific tip. That's really going to help you improve your portraits. Your family and friends are not going to believe how great they look in the photos. You're really going to flatter them and they're going to wonder you did it? This tip is one of my all-time favourite because it's so simple to do you don't have to change any settings on the camera and you get absolutely fantastic results Professional photographers call this 'Top Shade', or sometimes 'Open Shade'. Now when you're taking a portrait and you want it to look a cut above a standard kind of snapshot, the most important thing is that you want nice light on the subject's face, a nice soft even light. You may have seen in previous films how the sun can ruin what would have otherwise been a lovely photo, the sun can create harsh shadows on people's faces, shiny bits on their cheeks and forehead, and make them squint. Even on a lovely day like today, where we got cloud cover and absolutely perfect light for portraits, there's still a problem. God gave us these things called eye sockets, and they're fantastic for protecting our eyes, but unfortunately they make our eyes look a little bit darker if the light is coming directly from overhead, and they can also creates slight shadows underneath the eyes. Now the eyes are the most important thing when you're taking a portrait especially for close-ups, you want the eyes to have colour in them, and to look sparkly and maybe have a little catchlight in them, and Top Shade gets around this problem. Now, as you can see, my eyes have practically no colour in them, and that's because the light is coming directly from overhead, and my eye sockets are making my eyes go a little bit darker. Now Top Shade gets over this problem, and the idea is that you hide some of the light coming from above, so the only light is coming in from the side. Now to do this you use some kind of canopy or awning. or it could even be a porch of a house, or maybe just even opening a front door of your house and having a subject stand just inside the front door. anything that protects the light coming from above. So here we've got an old pavilion, it's a perfect example of Top Shade. Now Ok, it might not be the most attractive structure in the world, but quite often for portraits, that's not really necessary. You only need a small area behind the subject. Now, I'm going to walk underneath the pavilion and you should see a marked difference in the quality of the light on my face because the light is only coming from the front here. There's no light coming from above, So let's see how it looks. Now that we've got a close-up you can see the lovely quality of light on my face, and this is due to the light coming from the front rather than from above, and you should be able to see the colour of my eyes now and the little catchlights in my eyes. So this is going to make all the difference to a portrait. Let's go and try it in practice now with a model. What's a going to use the pavilion now to take a picture of Lara, and the light is covering... the roof is covering the light coming down. So let's see how this looks, going to use is a compact camera for this. That's very nice. We've also got the shutters as a background which looks nice. Ok here's another example of Top Shade, they're just so easy to find it really easy, really to do, so here. I'll ask Laura just to step underneath that low roof there. I'm going to see how the light looks again. Just gonna use a compact camera, no fancy settings or anything. That's great, we've got a nice red background as well which helps. Ok, that's beautiful. So here's another example of Top Shade, very simple, just open your front door and stand your subject inside a porch. If Lara comes forward you'll see that at one point. It's got to be too... you see the sun's come out, and it's going to be too bright. But even if the sun wasn't shining, that's still too far out. We need to go back in, also if she went too far back in, go a few feet back in Lara, you she as she goes back in the light reduces on a face. So you mustn't be too far in either, so it's just about 2 or 3 feet. let's try this, so again, just using a compact camera and that's great. Beautiful Ok, here we've got another example of Top Shade, we've got this tree with branches coming over Lara's face. You don't want to be too far underneath the tree. Just on the very edge of it. Otherwise the subject will go too dark. The sun is shining so I've also make sure there's nice speckled highlight on her face. Let's try taking a shot now see how it looks Brilliant This time it's a children's area in the park. One of the problems with top shade, is that depending on the location, the background can go a bit dark, and that doesn't really do you any favours if the subject's got dark hair, if they've got lighter hair, then it's not too bad, but this time I chosen an area where I know there's a lighter background, let's see how this looks nice little smile Lara Come on. Fantastic yeah the lighter background definitely helps, but you can't always get that with Top Shade, it depends on where you are. So don't forget Top Shade, keep your eye out and look for locations where you can use it. That's all for now. 3. Dealing with the sun when taking a portrait: - Today we're in the park. - We're going to be taken some poor traits of the sun shining, - but it's going in and out. - The clouds are going across now. - The sunshine can actually make it more difficult to take photos because the sun creates - hard shadows on, - especially for portraiture. - Income earned the look on people's faces. - I know sometimes I'm not a wedding on a couple Say to me. - I lucky they out of a nice, - sunny day, - especially here in the UK, - without weather. - But then they say that is going to make it easier for me to take the photos, - when in fact it's just the reverse. - It can actually make it more difficult. - So it's not how black the light is. - It's a quality of life, - and that's what we need to look at. - Look at today. - What you need to understand is different types of liar are better for different types of - photography, - so the sunshine is not great for Phil pull traits, - but it's better for landscapes now. - I'm not suggesting for one minute you walk around with some elaborate scientific instrument - to measure the light, - or you need to do is be aware of the light and make a few simple adjustments before - actually pressing the shutter. - Sometimes you'll need to move your subject or just move over a few feet, - especially when the sun's going in and out on. - Don't you need to have the confidence to do that with your subjects as well. - Don't be afraid just to ask them to move over a few feet before you actually take the photo - . - So let's give this a try. - The sun's coming out. - We're gonna take some polls rights. - Okay, - let's take a picture. - Then with the sun behind May now, - when I was young, - I was always taught to keep the sun behind me, - and I think it was even in the Kodak manuals, - he said. - He said, - Let's just see what happens when you do that. - Yeah, - so we've got a nice sharp It's probably exposed, - but just look at the shadows around. - Lovers, - IRS, - Andi shine on her cheeks. - It's not a great look, - so let's see what happens now. - If we go into the shade, - just step over to this one a little bit now, - You see, - I don't want that to happen. - She just got a little bit of sun on her face, - and that can't happen. - We don't we don't want that. - So now come back into the shade Law. - So great has been blowing in the wind just as miners as well tell your face for me. - Just this weight, - like more. - That's way. - That's it, - even a bit more. - That's great. - Lovely. - I mean, - now that seems like we've got into a darker place. - We've actually got a nicer light on Lila's face, - So let's have a look at this photo. - You can see it's a lot nicer. - The light is a lot more even on her face. - That's great. - So the point I'm trying to make in this film is that the light is the most important thing - . - It's even more important in the background, - so forget pretty flowers. - Forget fountains, - Mr Light is it should be your main concern. - Background can come next. - The other thing I forgot to mention here was that when you do go into the shade in the - sunshine and is that you sometimes get this dappled light, - you might have to sit on my face. - Now, - with light is coming through the trees and causing a dappled effect on my face. - You want to try and avoid that, - especially on people's faces. - It's not too bad when it happens on the clothing, - but you want to avoid it on the faces. - Okay, - that's all for now. - See you in the next film. 4. Understand the direction of light and the effect it has on your photos: - Yes, - I'm on holiday, - so if I'm a bit dark in this film, - I'm shooting against the sky. - It's a lovely, - sunny day on going to be talking about the light now. - I think it's fair to say that a good understanding and use of light will improve your - photography farm or than a whole Bagful of cameras and excessive, - like an ad form and shape and texture to an image on also provide a feeling of death. - Now the various aspects of light which affect your photos. - Now there's the quality of life, - and I've touched upon this before. - The hard light of the sun, - a soft light of a large light source, - like a large window. - Then there's a color of light. - For example, - yellow light from a tungsten bulb compared to a nice, - colder light from the sun shine. - But there's also the direction of life, - and that's what I want to talk about today. - Now, - when the sun is shining and you're about to take a photo, - you can have front light. - When the sun is behind you and in front of your subject, - you can have sidelight when the sun is off to the side And then there's backlight. - When you're shooting into the sun on the subject, - the sun is behind the subject, - and then you could have top light when the sun is directly overhead. - Now the sun is quite low in the sky over there, - and it's shining out to see if I was taking a photo from here. - That would be front light. - Front light gives you really nice colors. - So, - for example, - the sky would be really blues you'd have seen in another film. - But it's great for taking photos of, - say through or flowers or clothing, - for example. - But it's not too good for taking photos off, - say buildings, - because depending on how high or low the sun is in the sky, - you may not get good shadows, - and it's the shadows that created texture. - So if you're taking a photo of a building, - it may look a little bit dull on gun interested. - So front light is not the best light for taking photos of buildings. - I'll be talking more on that subject like Tony on its film, - but I'm gonna be taking a photo now out to sea on. - We'll compare it with a photo taken later on in the day. - Now, - when you're shooting towards the sun and the light is coming from behind, - your subject, - that's called backlighting on backlighting can produce some really great effects. - You might see Mother filming back lighting, - but that really dealt with Paul Traits, - this one I'm going to be talking about landscapes and Seascapes. - One of the one of the problems with back light in is that the colors could look a little - bit washed out, - but you can still get some great dramatic effects. - A sunset for John Boy's backlit on. - We all know how great they look back light and can also bring out the best in reflective - surfaces like shiny rocks. - Sea and sand. - Foliage also takes on a kind of translucent effect when it's backlit. - Also, - if the sun is just peeping through some trees or maybe from the edge of a building, - you can sometimes get a kind of starburst effect. - You can also get some great silhouettes using backlighting on. - I want to try that now. - Now, - actually, - the light is actually darker than what you're seeing at the moment. - I've lightened up this film so you can see my face. - I had intended to take a picture out to sea and silhouetted the people on the pontoon, - but they've all come in now. - So here's a photo I took a couple of days ago, - and as you can see, - we've got some lovely silhouettes against a sky. - Looks great, - doesn't it? - Here's a shot I talked earlier on in the film when I was discussing from lighting. - Admittedly, - it's not that excited, - but compare it to the one using back light in, - and you'll see that the colors are a lot stronger, - and that's all down to the use of Frontline now. - As I said earlier, - backlighting foliage could give you a wonderful kind of translucent effect. - So why take a photo like this when you can take a photo like this instead? - Because the difference it knows to photo's incredible, - isn't it? - But aware had the camera in the macro mode there. - That's the setting with a little flour on it. - The sun is off to the side now, - and it's getting quite low in the sky. - This gives us a sidelight now, - sidelight in emphasizes form and texture, - and it can really emphasize the three dimensional shape of a structure or building. - Sidelight is best early in the morning or later on in the afternoon or early evening. - That's why we've come out here about five o'clock. - I'm going to try and use these branches here to fly in the church. - Let's see how it looks. - Got a lovely blue sky. - Now I'm using a compact camera, - no special settings. - But I'm also going to hold the camera quite higher to reduce the converging verticals that - you sometimes see in photos. - And I talk about that in another film. - Yeah, - now that looks great. - Compare that to the shot I took a little while ago where the sun was in a completely - different position. - There's no comparison between the two images. - This sideline gives us a really beautiful, - lovely light. - Now, - as I said, - sidelight and connect texture to your subjects. - But this wall is more or less fighting the sun, - so there's not a lot of texture in it. - If I come over to this one now, - this war is actually facing a slightly different angle and straight away because this is - sidedly, - you can see far more texture in the wall. - I'm gonna take a picture of both of them so we can compare them. - Yeah, - you can really see the difference just because one decidely on one is frontal. - It sidelight and has another trick up its sleeve, - especially early in the morning and late in the evening. - It gives us his lovely long shadows, - and you can make use of those two at impact your photos. - Let's try a couple of things. - You can see the shot I was going across there. - So let's try. - Want Let's try those but up another idea to use the shadows. - I'm gonna come on this side I don't wanna back like the headstones unused and incorporate - the shadows That's really given us some drama. - So look out for the shadows light in the evening or early in the morning and try to make - use of the menu images. - A few more examples of side lighting. - Then this is a simple shot, - made all the more powerful by the strong shadows. - These apples and oranges are lit by window off to the side. - Look at the light and shadow, - especially on your injures on the great texture on the orange skin. - He's one of my wedding photos. - I was struck by the great shadows on the lawn on the pavement. - So I ask the bride and groom to sit on the bench. - No, - just part away had their position on the third and finally, - in this side lit shot. - We've obviously got some shadows on the ground but noticed the light and shadow on the - pillars, - which had a little bit of drama to the image. - It's also important to try new sidelight in when you're taking a photo of a building with - bright or white walls. - If you just use, - say, - front light, - what will happen is the white wall. - Just look like a total white mess and you won't see any texture in it. - So that's about it. - For the direction of life you might have noticed. - I haven't mentioned top flight. - That is when the sun is shining around midday, - and that's because this type of light doesn't really do anything for your photos. - My advice is to sit down and have some lunch. - That's all for now. - I hope you enjoyed this film. - I'll just leave you with a quick summary bye for now. 5. Get nice blue skies in your photos and avoid white skies: - blue skies with or without fluffy clouds. - Community add color to a scene and improved a photo. - Now, - a few years back were on holiday in Paris, - and we were on a boat trip going along the river Sane. - If you've ever been on one of these trips, - your note. - As you go past famous landmarks, - people get up to take photos. - Now, - on this occasion, - it was a nice, - sunny day. - We're just gone past the Notredame, - and sure enough, - a woman in front of me got up to take a picture of a building on the right. - I just wanted a grabber intelligence to wait a few seconds before taking a photo, - but of course I didn't want to get a slap. - So instead I took a photo of her taking a photo. - So why should she have waited a few seconds before taking the photo? - Well, - it's because the sun was more or less in front of us, - and I knew that the sky would be almost wire in a photo. - His the one I talk. - She would have got a similar picture to this one, - and as you can see, - the skies bleached out, - looks white now here's a short I have it just took Once we had gone past the building the - shoes photograph in So if she had waited about 30 seconds until the riverboat had gone past - is building The sun would have been behind her on a photo. - Would have had a nice blue sky to really strike the point further. - Take a look at this. - It's about four o'clock in the afternoon and the sun is off to the side behind May And you - can see that we've got a lovely shot of the church complete with blue sky and fluffy clouds - But now compare this with the film I talk about nine o'clock this morning The sun is behind - me in the sky A nice blue But watch what happens when I pan around slowly towards the sun - And the church actually Okay I was hoping for clear blue skies We've got a few more clouds - but you can still see The sky is turning lighter and lighter on once opposition the church - in the flame the sky turns completely white Okay, - here's the two photo cyber side. - There's just no comparison is a But apart from the color of the sky. - Look at the light falling on the actual church itself and how much better it looks in the - first photo. - I'll be covering this in a forthcoming film and showing you how it's achieved. - So the moral of the story is, - if you want blue skies, - keep to some behind you off to decide is a final example for local part biker. - Now, - Now the sun is behind May, - and as I pan around you can see the sky's blue have got nice looking fluffy clouds in the - in the picture. - But if I move over to the other side, - I'll now have this sign in front of me. - And as I pan around you can see apart from a couple of storm clouds, - the skies completely white with no color in it. - This video camera uses the same type of exposure and meeting system as other cameras to it - doesn't matter whether you're using an SLR or compact camera. - The same thing would happen. - That is, - if you're facing towards the sun and, - you know, - actually taking a picture of the sky. - The camera has to adjust the exposure to light in the photo. - Otherwise, - the subject is just going to be silhouetted, - and that's why you could end up with White Skies. - I'll be doing a complete film on how the position of the sun could affect your photos. - So stay tuned, - that's all for now. 6. How to retain the ambient light of a nicely lit room: - Sometimes you find yourself in a really nice room with beautiful light coming in from a - window or door. - You may be in a par bore bar or cafe. - This is a little tree pub in Leighton Buzzard. - Well, - you may just be with friends and family at home and you think to yourself, - Oh, - this is a beautiful setting. - It could make a terrific picture. - So you get your camera so you take the opportunity to take a photo and you think to - yourself, - This is gonna be a beautiful photo. - So lovely, - seen a great light. - Let's see how it turns out and you look at the photo and, - well, - not exactly a disaster. - But really, - it's just a snapshot. - It's nothing like how the room actually looks. - So you think to yourself. - Well, - maybe it's time for a new camera, - but no, - What actually happened was I left the camera in the auto mod the flash went off and it - killed all of the lovely ambient light in the room. - In this film, - I'm going to show you how to stop that happening and had to capture the lovely warmth of, - ah, - nicely lit room. - The first thing you need to do is to turn the flash off on the on the camera. - That's really important. - Then you need to change the ice, - so move it up to about 408 100 or even 1600 if room if the room is quite dark. - If you've got a better spec camp compact camera or DSLR and it has an A mode on ITV mode, - that's aperture priority. - They news that set in Ondo set the aperture to the lowest number. - That's the widest possible set in. - So I'm gonna change the camber to those settings on. - Let's try that again. - So I'm not turned in the flash off. - Good. - I'm changing the I. - So to about 800 in this room, - if you're not sure about how to turn the flash off I so and setting apertures. - There are the films on that subject, - and the links lower down on this page. - So let's give this a try now. - Yeah, - that's so much better, - isn't it? - A beautiful photo and I've captured the ambient light and shown somebody atmosphere of the - room. - Let's take a look and compare these two photos now when you first look at them side to side - . - It seems that there's not too much different and in fact, - the first short is not too bad for a simple snapshot. - But take a closer look, - and it's clear that a second photo is better. - Remember that the main objective. - The photo was to capture the beautiful light in the room coming from the window. - Look at the bookcase behind Jane. - See how in the first photo all of the shadow area has been lost. - Also, - the flashes caused the books themselves to become shiny. - What about the green wall in the white panel behind Jane? - They're also too bright and have lost all the shadow detail. - And finally, - Jane's Face has a much nicer light. - In the second photo, - look at the soft light and shadow on her face compared to the stark light caused by the - flash. - By the way, - these moody, - atmospheric type photos are great candidates for conversion into black and white. - See how great this same shot looks now in black and white? - Beautiful. - Let's take a look at a few more examples. - This one's also in the park by window, - and you can see I've used Flash because the light is very flat, - and there's a shadow just behind the lady's nose. - Now compare that when I turn the flash off. - There's really a dramatic difference between those two photos. - You can see this shot shows the lovely light in the room, - and when you put them side by side, - there's no comparison in this shot again. - You can see the flash has been used. - There's a shadow behind James Face, - and it's a very flat look to the light compared that to this one we have turn the flash off - . - You can see light and shadow on the sofa and again on her face a much better photo. - Here's the two together. - Now this is a favorite family photo of mine of a youngster blowing out his birthday candles - . - You can see the lovely warm light given off by the candles on. - Had I used a flash holder completely ruin the photo anyway, - that's all for now. - I hope you enjoy the film 7. Better indoor portraits using window light - pt 1 of 2: - most people when they take photos indoors will typically just leave. - The company also set in on a flash. - Got off on. - What happens in is your just get a snapshot. - The light on the person's face won't be very good. - You may get shadows on the background and shiny bits on the person's cheek or their nose. - So you're really here is a snapshot. - I won't be a very creative pulled right. - Much weather was a much better way of doing it. - Indoors, - especially on a on a nice plight Day is to use window light now. - Windows are much larger life source on the larger the light source, - the soft of the light. - That's why you see, - when you see films of saying photographic studios that using these huge great lights to - take the photos or too far or too like the subjects because the larger light source soft it - a lot. - Eso How do you take a picture by wind by window? - Well, - the first thing you need to do a Sfar the settings are concerned on the camera is to take - the camera of the auto mod on turn the flash off Now. - That's important because you don't want the flash going off as well as using the natural - light from the window. - The next thing you have to do is to increase the sensitivity by upping the I. - So to probably about 400 maybe 800. - Now there were films about eso using flash elsewhere on the site, - so take a look at them. - If you're not sure in this particular film, - we're going to be shooting parallel to the window, - so the subject is going to be the same distance from the window as the camera position. - And that's just one way of taking the photo by window. - And that's what we got to give a try. - There's a few things you need to remember. - Don't put the subject too close to the window because otherwise one side of the face is - going to be very bright. - On the other side is going to be very dark will be too much contrast in the image, - So get the subject a few feet away. - The other thing needs, - you need to remember, - is not to have the sun streaming in through the window, - causing shadows on the person's face that would completely ruin the photo, - so wait to the sons moved around or use a north facing window. - You could also try closing the blinds or shades a little bit on the window if that helps. - Another important point to remember is to have the subject slightly lower than the thin the - where the light is coming from because, - obviously, - like comes from above typically, - like come from above. - And that's the angle we want the light to come from. - So if you are taking a picture of somebody was quite tall. - Get them to sit down. - That way you have a better angle of light coming in through the window, - so the first thing we're going to do is take a picture. - We're just using the auto setting on. - We'll keep the flash on and then we'll compare that to the photo we take using window light - . - We've got Tory to model for us today. - I've shut the blinds to show what a typical shot would be like indoors when it's not too - bright with the flash on. - So let's give it a try. - That's quite a typical flash type of photo, - a very harsh light on the face, - maybe a bit of a shadow behind on, - and this one is not too bad that sometimes you get shiny bits on the fathers and on the - cheek. - So now we're going to try that again, - have taken the camera of the auto setting, - turn the flash off. - And then I saw the set to about 800. - I think if you come forward a little bit to get further because he's a bite windows, - we could get a little bit further away from the window. - Now, - one important thing is your noticed that the light on one side of the face is still much - brighter than the other side. - So it's going to be better if she looks out the window slightly. - So you're going to look, - maybe about over here, - that's it. - That's great. - Chin down little bit. - Now look at the difference between the first photo, - taken with a flash on the 2nd 1 just using the window light. - The light on her face looks beautiful, - and it looks much more professional, - Even using a combat camera. - We've got great results. - One problem that can happen is if the light is just a little bit too bright or the subject - is a little bit too close to the window on this side of her face will just be slightly to - Bryant. - If that happens, - either move the subject further away from the window or use exposure compensation on diet - down to about minus one or minus 10.7. - Because this is the side of the face that you want to expose properly so you can see now - the advantages of using window line over flash indoors. - You can get a much nicer portrayed, - but it does take a bit of practice to get it to get it right. - So here's a few basic tips. - Turn the flash off. - That's very important bomb the I. - So, - up to maybe 408 100 you need to take the camera off. - The also setting to do that if you don't change the I. - So then what will happen is the camera will automatically use a slower shutter speed on the - chances are you'll get a blurry photo from the movement. - Turn the subject face slightly toward the window. - It's not a complete profile is just like looking slightly off camera, - perhaps toward Piaget, - the edge of the window. - Don't put a person too close to the window. - Keep it a few feet away. - In fact, - I would have preferred to move a little bit further into the room for this video. - But the sofa, - the sofa was in the way. - We couldn't do that. - If your subject is wearing something right, - like a white shirt or white dress, - the chances are the light in the window could be a little bit too bright for it. - And it may just blow out and you'll lose the detail in the show or the George address. - So what you can do here, - it's certain the person into the room, - but actually then turn their face out towards the window and you can see how I've used this - technique in some of my wedding images. - It's also a good idea if you can avoid getting too much or in fact, - any of the window in a tall. - I couldn't really avoid it in this film because of the position of the furniture on, - in actual fact, - because I got these nice black and white lines. - I didn't mind it too much, - but generally you don't want to see a big expanse of wire on one side of the photo. - So moved the subject in a tiny little bit further. - Perhaps take a picture in a portrait orientation and avoid getting too much in the window. - And one final thing to remember is that this type of lighting isn't always perfect for - everybody. - It's great for youngsters and people with great complexions, - but when you get to my age, - this type of light does tend to show up the wrinkles and lines on a person's face. - But that could not great for an elderly gentleman, - anyway, - that's all. - For now, - I hope you enjoy the film. 8. Better indoor portraits using window light - pt 2 of 2: - in the previous film I showed you. - Steven Spielberg doesn't have this problem in the previous film shows you had to take a - nice photo using window light on. - In that film, - we had the subject parallel to the window. - This time we're going to use window like again, - but I'm going to have the window behind May now, - just as in the first film, - I want to turn the flash off. - I want to raise the ice. - Oh, - and open up the aperture and its films to those techniques, - and you'll find the links to them lower down on this page. - So I'm gonna have the subject about five or six feet in front of the window, - and I'm going to stand with the window behind me now. - The window is a large light source, - as I said in the first film, - so that gives us a nice soft light. - And this is a great way of taking photos when you're in tired with family and friends, - maybe a party, - have mother and go into the room and leaving the camel on auto with the flash going off. - It's a great way of taking the photo. - It's a very flattering light as well on the subject faces. - So James positioned on the sofa, - she's about probably 10 feet in from the window. - I prefer if she was a little bit closer, - but we can't really start moving the furniture around. - So let's see how this looks with with her a little bit further away. - So I've turned the flash off, - but because she's quite a distance from the window, - I've had to go to about 1600 I. - So which is just about the limit with today's technology with these type of cameras? - So the image maybe a little bit noisy, - but it will still be better than using the flash. - Let's see how this looks now him and I smile giant Come on. - Yeah, - that looks pretty good. - A lovely soft light on Jane's face. - Also, - one of the side effects of using a high I. - So 1600 in this case is that the cameras picked up the light in the background. - If I'd use the flash and the auto mod, - the background would have been much darker because the flash only reaches about 10 feet or - so. - See what I mean in this comparison for this shot of Bull Jane closer to the window. - So she is now about five or six feet away. - On issued illustrate the really nice quality of light you can get from a large window - behind you now. - Because she's closer to the light, - They have been able to change the I. - So down to about 800 let's see how this looks. - Now, - this is going to be a close up shop. - Good idea if we switch to Cameron. - Okay, - give me that. - A smaller John. - Come on. - Yeah, - that's a great photo. - Beautiful soft light on a lovely face because we've got the large window that gives us a - nice soft light source. - Perfect. - I use this technique quite often at weddings, - generally after the bride has got ready and I want to take a photo with her and her - bridesmaids. - What with their parents are just standing a few feet in front of the window. - I also use it sometimes. - If it's raining outside, - I find a nice, - large window and put the guests a few feet in front of it. - Anyway, - that's all for now. - Hope you enjoyed the film 9. Create a great look using backlighting: - as a young said, - a popular belief when taking portrait outside in the sun was to keep the sun behind you. - Now that was good advice, - because the exposure would normally be good and the colors would look great as well. - The problem is, - as it is now with the sun behind my cameraman there on the sun, - shining on my face, - you get the harsh shadows on the face and also the chances are your subjects going to be - squinting Now, - in the first film of that you might have seen of dealing with sun, - you saw how I moved the subject into the shade. - But it is actually a better way on. - This could give you fantastic results. - Now this is called backlighting. - It's when you have the son in front of you until the behind you so that the sun is now - behind the subject. - Let's see what happens now If I move around to have the sun behind May on in front of the - camera, - man. - Now you should be able to see that I've got this lovely light around my shoulders on the - top of my hair. - Now this type of lighting is cauldron lighting caused by the bright sun behind May or just - just above on a committee elevator portrayed. - Now, - when you're using this technique, - you have to be careful. - You don't really want this the background to be tube light. - That's why I'm I'm in a low position. - If I now come up and so the sky's Bahama here, - you can see how you lose the rim lighting effect. - The other thing is you want you think won't really work very well with somebody who's, - say follically challenged by a bit bald because the top of the head will completely - disappear into the background. - So we're gonna try taking a nice port right now using this. - Been lighting on backlight. - In effect, - let's see how it can work. - Now I'm going to be shooted with a sudden light towards me. - On this can cause problems. - The sun can enter the lens and create a kind of milky, - wishy washy type of look lacking contrast. - To get around this, - you really need a lens hood on the lens. - If you don't have a lens order using a compact camera, - you can just shade the lens with your hand. - Alternatively, - you could get somebody just Teoh to hold something over the lens just to shade the lens. - Or you could just stand in the shade. - That's easier, - saying, - if there is any around. - So let's try this now, - see how it looks. - Okay, - you can look up now, - as I suspected. - It's come out a little bit dark, - and that's because there's so much light coming in from behind Jane that it's full the - cameras, - meter and system. - There's more on this subject in a film called Exposure Compensation, - and there's a link to that on this page. - Secondly, - compensate won't The easiest way of doing it is to adjust the exposure using exposure - compensation button to make it about plus one and this. - Do that and try again. - Hi, - Giant. - Uh huh. - You can see that the exposure is a lot better. - It will have the effect of making the background a little bit brighter. - Andi the sky will sometimes go a little bit white. - Another way of compensating is to use spot meter. - Now many SLRs have various methods off meeting and they usually evaluative, - which takes in the whole scene there. - Center weighted on There's also spot Me too ing and spot me, - too, - and gives you a little dot in the center of the screen, - and it will meet her on that particular spot. - So in this case, - we could have used spot meter and on and on and put the spot on Jane's face. - Another very simple way off. - Changing exposure great for compact campus is too. - Point the camera, - angle the camera down, - so you're not bringing any light into the into the lens at all. - So you point the camera down half click the shutter. - So now you're focusing on, - say, - the lower half of your subject, - keeping your finger on the shutter, - then recompose that will also lighting up the whole scene. - I've just been load this really old camera from, - said my friendly cameraman. - That this camera is one of the very early digital cameras has probably got antique value. - So we're gonna try that same technique again to show you how easily it could be done. - Even with a camera like this, - it's quite lobbies around to having to be careful. - Now the first thing is I'm going to shade the lens with the hand so that his son doesn't - come into the lens have animal. - I'm gonna aim lover so that I don't get any sky and this rule ensure that the exposure is - spot on. - I'm half pressing on now on me composing Jane is looking gold just there. - Look at that. - And that just shows you what great results you can get even with a really old antique type - of digital camera. - Half a megapixel. - So as you just saw backlight income work. - Terrific, - Lee. - Well, - it can really elevate a portrayed. - But backlighting can also be used for buildings, - for landscapes, - for example, - sunset is also a backlit saying, - isn't it? - And also for fragile objects like flowers and foliage, - you can give give those type of objects a kind of translucent effect if you back like them - deliberately. - So on a nice, - bright, - sunny day Get out there, - Give it a try. - See how you get on. - That's all for now. - See you in the next film. - Yeah, 10. How to improve your natural light portraits using a reflector: - we're here in the park again, - and this time we've got the lovely Toby here toe model. - For us, - it's a beautiful, - sunny day on. - The problem is when you try and take photo or portrait in this kind of light, - it does create problems you can see on top of its face. - We've got very harsh shadows coming off her nose and cheek, - and allies look quite dark on my face to look quite shattering. - And even I don't look particularly handsome in the glare of the sun. - In fact, - I think it's made me look a little bit kind of average looking. - But now have a look at this. - So we're gonna try something. - Look carefully. - It's on his face, - You say how the shadows assigned to fill in. - Now that's back to normal, - and now it's got a better light on the face. - Quite a significant difference between the types of Lyon. - Now, - how am I doing that? - Well, - what I have here is a piece of white board. - This is kind of Mount board that you can buy from craft shops, - so it's something you can make yourself very, - very cheaply. - Tories tired of hair back now because it was creating a little bit too much shadow on the - face. - I'm gonna leave my hair as it is now. - The closer you put the reflected to the face, - the more effective the change in the light. - So when you put it really close, - you get a really nice light on the face. - But I still wouldn't put my subject in the full glare of the sun reflector or no reflector - . - How do one of two things I'd even move into the shade or possibly turn of answer. - The sun was behind her. - The other thing we could do is to take the board and just cover up the face and prevent the - sun permit in the face. - Let's try a couple of photos and see what happens. - So here's the first shot taken in the foreground of the sun. - A face looked really terrible with all those shadows. - And here's the next shot, - just covering up a face with that bald. - It looks completely different and are much better, - like on a face Beautiful shop. - But we've got a nice, - typical English seen here and there, - playing croquet in the background. - So what I've done is with term Toby round, - so we've now got the sun behind us. - Now you'll probably find that faces are a little bit too dark, - and that's pretty typical of what happens when you have a bright light behind you. - But you can see Tommy's got a nice light in land around here, - and that's called him light. - And there's a film about that called called Backlighting. - Now you can insert your things that, - using a piece of carpooled you can actually use a purpose built reflector. - And that's got what I'm going to use here because I'm just taking the photos on my own. - I don't have anybody else toe hold the reflective for me. - So I'm going to use a purpose built the fact that this is one made by a company called Last - Delight. - Now these reflectors typically have different colors on different sides or different type - of services on different sides. - Now, - once on this particular reflector, - one side has silver on the other side as white. - Now what you find is the silver side would be too powerful when it's very bright or or - sonny like today. - So if I was a shyness interface, - you tr blind. - I'm blind. - Her That would be awful. - So today I'm going to use the white side. - Typically, - I would use the silver side on on a cloudy or on overcast day. - So if I come on this side, - we should see the difference on service. - Told his face now. - So what I'm going to do, - I'm going to try to take a before and after photo to show you the difference that reflected - can make put this down for the moment that this is a typical shop without reflector. - This is the first shot in normal kind of auto type settings. - And you see, - your face is a little bit too dark, - but we've got a perfectly exposed background. - Now I'm going to overexpose the photo. - We still got the people playing croquet in the background, - but I don't mind about now. - You can see her face is quite It's got quite a nice light on it, - but unfortunately the background is now over exposed. - So now I'm going to try shot with the reflector. - Now this particular reflective as a nice handle on it, - which means I can use it on my own rather than having a system The problem we got now is - it's a little bit windy, - so it's gonna be a little difficult. - Tory, - you hold the bottom of it for me. - That's it. - It just turned towards me with your feet. - That's it. - Keep it there. - Yeah, - we're gonna do. - We gonna lift this reflective ups, - and there were, - So now we're putting the light back on our face. - So here we've got a great light on her face on the background Looks what Exposed as well. - You can also see the nice catch lights that the reflectors made in the eyes. - The other thing you have to be careful of is where to actually position the reflector. - You don't even know you've got shadow on one side of the face or she may have shot on one - side of face. - You don't Sorry. - You obviously have to be careful because I catch the wind. - So even if she's got shadow on one side of the face, - you don't really want to hold it just to lighten up one side of the face. - You really need to position the reflector underneath on just just twisted slightly. - So we get the light it until we get the light poured into our eyes. - These reflectors come in all shapes and sizes. - This is kind of a medium one, - which is great for portrayed, - but you can get the much larger. - If you wanted to take a phone, - a full length photo or maybe a photo of a couple, - you can get different types of services on these reflectors. - This is silver and white. - There are gold reflectors, - which will give you a much warmer light on the person's face, - and there is a kind of a semi gold as well, - which is silver on gold stripes on That warms up the face, - but it's not too pronounced the effect. - If I can find an area with top shape, - then I would prefer to use that rather than mess around with the reflector. - But reflectors are great if you can't find that kind of life, - so why not make yourself a cheap reflector? - Go out and give it a try and see the great difference it can make to your portrayed by for - now, 11. Use the rule of thirds for improved composition: - good composition community help you to improve your photography. - The composition sets the mood of the photo on helps to tell the story of the picture. - Now there are various rules and guidelines associate with composition on this one called - The Boards of Rule of Thirds is really a very fundamental one, - and it's one that you should really understand and put into practice. - Filmmakers and artists and photographers have been using these guidelines for years. - Now. - When we look at the world and we look at a subject, - we tend to put the subject in the middle of our view in the middle of our viewing area. - That's the natural thing to do. - But that doesn't translate so well when it comes to looking at photos quite often. - We don't want to put the subject smack bang in the middle of the photo. - Now the rule of thirds tells us if we do a line down one side of the flame on another line - down the other side of the flame, - another line of the top on another line of the bottom. - Each of these lines being on 1/3 where they intersect, - is where you need to place your subject or points of interest. - Andi studies have shown that the viewers I will automatically go to one of those points of - interest when looking at a photo so it becomes much more natural. - Way of viewing and image now. - Got a windmill behind me that should be in the middle of the flame now, - am I correct? - Said it's in the middle of the flame now. - If I move away from the picture said, - Just keep the video camera on the on the on the windmill. - Now if we move the video camera so that the move windmill is now on 1/3 you can see - straightaway that looks a little bit better. - We've moved the phone. - We've moved in women, - but we haven't moved the windmill. - Obviously, - we've moved the camera over just to put the women on 1/3. - Now another thing we can do is drop the camera angle so that the windmill is now in the top - third on one of the intersecting lines, - and you can see now that that's that looks a lot better. - So let's compare those two Well. - As you can see, - the rule of thirds is a great technique and is very effective in making your images more - dramatic. - And as I said before, - it's used by film makers the world over on. - Whenever you watch something on the TV, - a drama or film or you're in the cinema, - just notice out of subjects a quite often placed toe one side and you don't have to take a - photo of a windmill. - It's not compulsory. - This technique can be used for poor traits for buildings while for landscapes. - So let's see how to build 1/3 come work for us when we're taking portrayed. - We've got a young model here, - Sophie. - So if you stand up, - maybe just stand against the door frame now. - Now I'm using a less LR now have no particular reason. - Just like to swap and change cameras. - And I want to take this photo in the portray orientation. - So the camera is gonna be this this way. - Okay. - And first of all, - I'm gonna frame it so that she's in right smack bang in the middle of the shop. - Now I'm going to change the flaming so that she's on one of the intersections. - I think you'll agree that second photo looks a lot more interested in a bit more dramatic. - I'm gonna try something else. - Now I'm gonna shoot in the landscape orientation, - leaving quite a bit of space in front of her face now for this one. - So he's gonna look just to the side of May. - And so we have a little bit more to the side. - So excellent. - There was smile going, - huh? - One more lovely. - Now these type of shots look great when there's not much clutter in the background. - And I simple background will give you a great shot like this and remember to leave the - space in front of the subject's face. - So, - like many of the rules and guidelines that I'll be showing you of all the thirds is not - hard and fast rule, - you don't have to use it every time. - You won't have the rule of thirds police coming knocking on your door one day if you don't - use it. - Sometimes a bit of symmetry works well. - Putting the subject smack in the middle of the flame couldn't couldn't look nice, - so it depends on the scenario, - but it's worth trying to all the third's and using on placing the subject in the middle on - comparing it to see how it looks. - So that's all for now. - I hope you've enjoyed the film. - See you in the next one. 12. Better composition using diagonal lines: - using diagonal lines is a great compositional trick to a drama to an image taken, - suggest action movement on Bring Depth to a photo. - They could also lead the viewer's eye through the frame toward an object and make a - standard type of shot a lot more interesting. - Now those are gonna line can be a real object like this. - Plank it running through the flame. - Or it could be an implied diagonal line. - For example, - you could have an object inside the top left ankle whenever frame at another object in the - bottom, - left hand in the bottom line and corner flame to create an imaginary line. - Or, - you could have, - say, - long horizontal lines running through the photo. - But you can then change the angle of the camera to turn those into diagonal lines. - Or you could maybe move over a few feet to bring in other objects into the frame on men. - Position on align the camera to make them into an imaginary line. - The other thing you could do is pose people in such a way as to create a diagonal line and - more of this in the films on posing Now, - once you become aware of diagonal lines. - You'll start seeing them everywhere on the TV, - in films and in professional photos in magazines, - so keep your eye out for them. - Let's take a look at a few examples. - I picked out a set of about a dozen photos here, - which illustrate the point, - hopefully about diagonal lines. - Some of these air taken on holiday like this one now in this shot waited until the surf - came across the scene before actually pressing the shutter. - And you see how the diagonal line adds a little bit more interest to the scene. - Also, - you see, - I've put Jane on 1/3 in this shot taken up Flom Railway in Norway. - I've lowered the camera angle to exaggerate the lines of the trains going in toward the - center. - That's Jane walking away in the middle. - There, - This was taken off a cruise ship in a place called Far Sundin, - Norway. - The Villagers all came, - came out in their speedboats toe way goodbye, - and I waited until the speedboats went across the scene before pressing the shutter to - create an imaginary diagonal line. - I think that gives it a little bit more impact. - There's no mistaking the diagonal line in this shot I could have easily have stood in front - of the beach are taking a straight on picture of Jane, - but it gives it much more impact to go over to the side and create a diagonal line from the - beach huts, - his one taken inside a hotel. - This is sitting my cameraman now. - I've used a lower camera angle to pick up the lines from the floor, - but also the converging lines from the walls and notice our place, - said right, - smack bang in the centre so that the lines are going towards him. - By the way, - the diagonal lines work a lot better if they go from the corners of the flame. - Now he's a terrific comparison of two shots, - only one of which uses strong diagonal lines. - These were taken on holiday in a little wooden train. - The first shot is just a snapshot. - Everybody else was taken the same type of photo from the same position. - But what I have done now is I've got down lower to pick up the lines from the flight window - frames, - and as an added bonus, - I've got the lines from the ceiling really gives the image a lot more impact. - I was asked recently to take some photos of local firefighters, - and I've given them a strong pose with their arms folded. - But look have used the helmets to create strong diagonal lines. - Really Adds impact. - Another one inside the fire station. - I've stood really close to the wall here to create great lines leading towards the - firefighters. - This technique is explained in one of the quick tips, - and there's a link to it on this page, - another holiday shot taken inside a shop. - Now I could have just stood in front of the Charles and taking a picture from there. - But I get much more impact. - We're going round to decide and creating a diagonal diagonal lines or several diagonal - lines from these jars. - Here's a picture of the guard outside the Parliament buildings taken in Athens. - On holiday, - you can see I've used a low camera angle to accentuate the lines of the paving. - Another one of giant on holiday would actually hate being a model. - Notice how I put it to the side of the image almost on 1/3 and I brought in the curved - lines of the ship to create a diagonal. - Another holiday image, - this time the beautiful Greek island of Santorini. - Notice I've got done low and close to that wall on the left to create another diagonal. - Now, - in this holiday image of a tender boat leaving the cruise ship have tried to create an - implied diagonal lion. - That's why I put the cruise ship in the top line corner to create an imaginary diagonal. - Now you may remember seeing me take this photo in the introduction. - It was very easy to do because of those of lamb and already created great lines. - All I had to do was get down a little bit lower and made sure I had a diagonal coming from - the bottom. - Right hand corner auto also noticed the converging diagonal created by the fence on the - left, - he said. - My cameraman and a lovely Julia. - You can also create implied diagonal lines were imposing people. - Now, - okay, - this is not exactly an award winning image, - but you can see the diagonal lion created by the heads doesn't make the post look a lot - better. - And for a final example, - look how much better these pots look when, - instead of placing them side beside we place him diagonally to create an imaginary line, - that's much better. - So now let's see how this come work in practice. - Well, - this is a typical British thing. - We've got a pub by canal. - It looks lovely. - If we just wanted to take a picture of the pub, - we could just zoom in, - take a shot. - That looks OK, - but it's a little bit dial on Noel Dairy and uninterested. - What we can do is make use of the canal on the bank of the canal to create a diagonal lion - leading into the pub. - Not to do that, - I'm gonna have to get to a lower angle. - Let's give that a try. - See how it looks. - Yeah, - that's a much more interesting picture. - Let's try something else. - Another short body canal could be barge is popped up. - Let's try taking a shot of it can get the whole thing in. - Unfortunately, - let's try it from there. - But the other thing we could try, - it's a shoe alongside the barge to create a diagonal line. - Let's have a go doing that. - Yeah, - look at that. - That's a lot more dramatic. - Just by moving over a few feet, - changing your position changing your angle, - you can get a much more much better shop the shorts on the girls, - even something simple, - like these flower pots come benefit if we tried to create a diagonal from them. - First of all, - let's try taking one from the fund. - Now I'm gonna come down to the side and try to create a diagonal. - Well, - admittedly, - that is a completely different type of picture altogether, - but it does look a little bit more dramatic. - This has been a slightly longer film I can almost hear you're saying enough already with - the diagonals, - but using them in your compositions can make an incredible difference to your photography. - Go out, - give them a try and have a practice, - that's all for now. 13. Use 'Leading Lines' to create more dramatic images: - in one of the previous films, - I talked about using diagonal lines in your photos on Had I can make the images a little - bit more interesting and dramatic. - There's another great little compositional trick called leading lines on these leading - lines. - Lead your viewers. - I threw the image to reach a certain point. - It's like taking a little journey through the photo to reach that point. - It's a great little compositional trick. - Used a lot by photographers these days. - Now with the pit stone windmill again on this looks what? - Quite a nice shot. - We've got the windmill on 1/3. - If I'm just move out the way. - This looks quite a nice little scene. - The trouble is, - this area here to the left of the windmill Theo empty area is not really doing that much - for much for us. - So we're going to try and use leading lines to improve the picture. - What I'm going to do is change the angle of the camera on bond. - Pick up you can just about fit does it is ah followed track here along with the glass glass - area, - and we're going to John pick that area up to use is the leading line. - I'm going to change the angle of the camera now see how it looks. - So we re flaming the photo to put the windmill on the left still on the third and now you - can see is picking up that cloud track on the right hand side, - and it kind of leads your eye into the windmill. - I may just actually zoom out a little bit just to pick up even more of the truck, - but you can see that's my quite big difference. - I made the shot a little bit more interested. - Meeting lines at debt photos I make. - The images looked far more interesting. - Now, - quite often. - Meeting lines have found on the ground, - like in this case, - but really, - they're everywhere. - You just have to look for them now. - If the leading line is on the ground or quite close to the bottom of the flame, - you can usually accentuate the leading line by just changing the angle of the camera just - by lowering it. - So if I was taking a photo normally here, - I would come down much lower like this and pick up the leading line this way. - Now, - if you got a compact camera. - It's much easier to do that because you can see the screen on the back of the camera. - With an SLR, - you quite often have to use the live mode to see the screen on the back of the camera. - It's a bit difficult looking through the viewfinder when you're this low. - The trouble we're doing that my I just not getting down is getting back up again. - So this re flying the shop, - using with the with a much lower camera angle and see how that looks. - We've taken the camera off the tripod and we find the shot to take him or the grass, - so it's a little bit little bit shaky. - I'm just going to love it now. - I'm not picking up that leading line. - You say that this is giving us a much more interesting picture. - Here's a comparison of the three images, - the first without leading lines, - then picking up the lines with camera eye level and now the one with the camera hold much - lower. - You can see that they do get progressively more dramatic looking on. - All I've done is move a few feet and change the angle on without changing any settings on - the camera and just thinking about my composition. - I've ended up with a much improved photo. - Leading lines look their best when there's something at the end of the line to bring the - viewers. - I threw the photo to that certain point. - There's really no matter that much point in having a leading line that doesn't actually - lead anywhere. - And you don't have to just use leading lines for scenes and landscapes. - You can use leading lights in portraiture on when, - for example, - taking pictures of buildings. - Let's take a look at those subjects. - You can use leading lines for portrayed as well here. - We're in a park, - and you wouldn't think there'd be that many opportunities for using leading lines. - But they are there. - You just have to find them. - And look, - look for them here. - We've got a low fence that we can use for a portrait of Ben on. - We'll come up alongside defense and try taking a shot. - From there, - you see how that looks. - I'm getting very low down and close to the fence that's going to accentuate the line. - You can see how the line of defense draws you in to the subject, - the lights not perfect on his face, - but we're not really worried about that at the moment. - How's this for a call post? - Another great idea for leading lines is brickwork, - where you've got the pointing in between, - the bricks could be used as the lines leading into your subject. - We've got a pretty good war here. - Unfortunately, - it's not a very long wall, - so we've got sky at the end of it, - which I would prefer to avoid. - But let's give it a try and see how we get on. - I'm gonna get really close to the wall as I can Try and avoid too much of the sky in the - background have had to put Ben right on the very edge of the picture. - But I still look really nice with those leading lines into his face. - You've seen this scenario before. - We're using shutters this time on. - These have great lines, - which we can use to lead into the subject. - One of the problems you've got with this type of shot is that you want the subject really - on 1/3 or toward the edge of the fame, - and to do that, - you need to use 1/2 press of the shutter on recompose, - and you can find information about that in another film. - So let's give this a try. - We've also got some lovely light here because we're under the pavilion again. - Yeah, - that was great. - Those lines really at drama to the image and make you just look a little bit more creative - . - Remember, - whatever leading lines you using, - the closer you get to them, - the more impact it will have. - That's why I got really close. - So the shot is there. - Another quick, - simple idea for leading lines is a park bench. - I've got Bend to sit at the back of the bench on one of the arms to get him higher up, - and I'm going to use the back of the bench as a lion leading into Ben. - I'm gonna come down quite low. - I've got better looking out over this way because as he looks towards May, - the sun is going to hit his face and it won't be a good look. - Yeah, - that looks nice. - The line of the bench leading into Ben notice. - How also have avoided putting his head against a tree because it's quite a dark background - . - I thought it looked better against the blue sky, - leading lines also great for buildings and architecture as well as leading your viewers. - I threw the image to the building. - They also tend to have a little bit of drama to the photo. - This is all Saints Church in Leighton Buzzard, - a beautiful church. - My daughter got married here a couple of years ago, - and I also photographed a few wedding Teoh. - I'm going to take a couple of shots first of all, - just a standard type of image. - And then I'll get lower and pick up this track leading into the into the church and we'll - compare them at the end. - First of all, - just a straight shot of the church. - I'm not even going to attempt to get in the spire of the church because we're just too - close. - But now I'm going to get lower and pick up this path into the church, - gonna get on very, - very low. - Yes, - quite a dramatic difference between those two shots. - We've also got the benefit in this particular case of the brick work on the ground and also - the curb stone on the edge of the grass playing up very nice. - Unfortunately, - looking back at this film afterwards, - I realized it's quite similar to the start. - The film with a windmill. - So here's a few more examples of buildings and architecture with leading lines. - Look hard aside. - Fencing lead your right into this reservoir tower. - The lines look even better when they emerge from the corners of flame, - his interior shot of the vulnerable Reagan building in Washington. - Lines coming in from all directions from the singing of From the Sides, - Another interior shot, - this time inside a church. - No, - the lines formed by the edge of the pews on the repeating arches. - So that's about it. - Have you found in this film useful? - Now? - Get out there. - In fact, - this. - It's really the best way of getting these techniques to really sink in. - Bye for now. 14. Use repeating patterns for more impact: - We're in a hotel corridor, - which has a lot of quite Holden, - every looking windows along the outside wall. - But when I bring the camera around to a different angle, - the windows now form what photographers call of repeating pattern. - You often see repeating patterns with archways, - pillars or windows, - plus lots of other objects to making use of these repeating patterns. - Come really a drama to a photo on Give it Give the image of great feeling of death. - Also, - for this particular shop is going to give us a great diagonal line. - I'm going to use a combat camera is quite dark in here, - so the camera set to about 1600 I. - So let's see how it can look. - Switch on the comma always helps. - Yeah, - that was great. - Here's another one, - this time with Jane in a photo note, - the way she's looking out the window to put a better light on her face. - So still in the hotel, - we've got some nice pillars here, - which can also give us a great opportunity for repeating patterns. - You can see that as the camera pans around, - we get a lovely perspective on a great feeling of depth I like the fact that we got - pictures both sides as well. - Here's a shot of Jane walking down the middle. - You can see straightaway how the pillars add a bit of drama to the photo. - Also notice how the lights above ahead BP as well. - So here's a few more examples, - this one's oven Italian building, - and you can see how the balconies repeat notice at the sidelight and has created these - great repeating shadows. - Inside Chester Cathedral. - You can see how the arches repeat and also dip use on the structure of the sealer. - These seats inside Chester Cathedral repeat as well. - Notice at the back of the seats are picked out by the back lighting that this one is - similar to my holiday photo with Jane, - he said. - My camera man walking down the middle of a hotel corridor. - I've just been down my local shop to buy these colored short pieces. - I thought I may make a nice abstract type image. - You can see how two short pieces make a nice repeated pattern. - By the way, - I've also used a wide aperture on the lens to ensure that only the first couple of your - pieces are in focus now that this is a pocket the Comercio in Lisbon. - And as soon as I saw these arches, - I knew they would make great repeating patterns. - I came out to the other side and had to wait till a few of the tourist disappeared and then - took this shop. - Anyway, - that's all I'm repeating patterns. - Have you enjoyed this tip? - Bye for now. 15. Improve your composition using the 'frame within a frame' trick: - Here's a very quick compositional type tip, - which works really well, - sometimes for poor traits. - I call it Flame within a flame. - Now the idea is to have your subject within some kind of flame worker architecture. - It could be a doorway or window, - and you need to put them right smack bang in the middle of that framework. - Yes, - and windows behind me. - I'm going to try and use those and take a picture of Jane in that framework. - That's nice. - I like that. - A couple of points, - though, - about opposing notice how arms spread out, - creating a nice body shape and the position of arms make diagonal lines. - Also, - there's no law that states people have to look directly at the camera. - Here. - It looks like she's not aware of the camera, - and that makes the whole short look a little more natural. - Here's another. - Every weaken uses just a beach bar not being used in a moment. - And I'm gonna flame Jane between the bar itself on this kind of thatched roof. - See how it looks? - Not about photo quite nice light on Jane's face created by the top shade, - but it doesn't really illustrate the point very well. - I had to crop off the bottom of the bar because it was a little bit too light for my liking - . - There's a little beach part we can use. - I can get Jane on one of those seats looking towards me. - Cramer. - Between those white holes in the roof that looks, - Yeah, - that looks pretty good. - She's within the framework. - She's got a roof above on polls below, - into the right of a. - Also. - It doesn't matter that she only represents a relatively small proportion of the time. - It's what you might call an environmental photo where it shows her in a holiday context. - If I just took a close up, - it could have been taken anywhere. - Obviously, - I was a little bit restricted on holiday with so many people around. - So let's take a look at a few other examples. - Here's one in a doorway. - I put Jane over to the side in this one because I didn't want the center of the door - sticking out the top of her head, - another one in a doorway, - which gives us a nice rain. - Also, - because they're just inside the door. - We've got the benefit of top shade. - Let's take a look at a few wedding shots. - I deliberately put this pride within that frame that was on the wall. - Notice also the position of arms. - Yeah, - I've always loved this shot, - the little girl looking up admiringly at the bride. - I did ask her to go and stand between the curtains and in front of the window to create the - frame within a frame effect. - But then I got really lucky when the little flower girl came over and started talking to - her. - This is quite an interesting one, - because it's almost a frame within a frame within another fame. - By the way, - when you're shooting through a secondary type of frame like this, - it's almost like you're spying on the subject. - You see this technique used a lot in films when you know the subject is almost certainly - about to be attacked or murdered. - Here's another holiday shot that I like with Jane, - famed between the geometric lines and shapes of the outside hotel wall. - And finally, - in this shot, - I've used the arch of the bridge behind the couple and the long grass in front of them to - try and create a flame, - so I remember flame within a flame. - Very easy to do requires no special settings on the camera. - You can use your combat camera SLR really quick and easy. - Todo give it a try guy in practice, - that's all for now. 16. Blur the background for more impact (DSLRs): - Have you ever noticed how some subjects come pop right out of the image and look fantastic - ? - This could be achieved by great composition or light or with great use of color. - But by far the most popular way of doing it is to keep the subject really sharp and to blur - the background now or don't quite a simple thing to do. - To explain, - every aspect of it would book me down in technicalities when which I don't want to do so. - I'm going to keep it quite simple. - Now. - This film is aimed SLR users or people with the new minimalist type cameras on. - To be honest, - it's a much easier effect to achieve using those cyber cameras due to the physical size of - the sensor being a little bit larger. - I don't really understand the physics of it, - but those cameras, - with those cameras, - it's a little bit more easy to achieve. - Okay, - thankfully, - we've got away from those pound taint springing up behind me. - So now we've got larva here and behind that we've got these black canopies Now, - First of all, - I'm gonna take a picture just keeping everything in focus. - Let's see how this looks okay, - that's quite nice, - verging. - See, - the background is a little bit distracted, - so I'm gonna change my settings now, - and I'll show you how to do that in a moment. - Onda. - Let's see if we can blow the background. - Let's try that again. - Yeah, - that looks a lot better. - You can see she come. - That comes one out of the image, - much more so how did I do that? - The most important setting is the aperture. - Here it's set to F four now, - although this primarily controls the exposure by controlling the amount of light entering - the lens, - it also controls a depth of field. - The depth of field is a technical term used to indicate how much of the images in focus in - front of the subject on behind the subject. - There's a whole film on this. - You'll find a link to it on this page, - but keeping it simple for the time being, - set your camera to aperture priority mode. - Now, - on this nick on camera that indicated with a letter, - either some cameras have a control knob on the top. - Let's have a look at one of those that this isn't an SLR, - obviously, - but it's a similar set up. - There's a dial here and you can see that letter a indicating aperture priority. - The other letters are things like shutter speed property on manual mode, - but we want to set it to the A mode. - Some cameras, - notably cannons. - Call it a TV mode, - and that's the one you want to use. - Now I'm guessing that most people watching this film will have a zoom lens that came with - the camera. - These you geezer, - usually referred to as kit lenses on, - did look a little bit similar to this. - If that's the case, - just use the lowest aperture number possible on this particular lands. - That's 3.5. - But just to confuse things as you zoom in and out, - the actual aperture will increase, - so it may start off a 3.5, - but as you zoom in, - it will move up the scowl toe F four or 4.5. - That's just a restriction on these type of lenses. - Some of the more expensive zoom lenses allow wider apertures, - and that's why they're more expensive. - This one starts a 2.8. - If you have a lens like this or you have a prime lens are similar to the one I was using. - Certainly opportunity about 2.8 or maybe a four. - Now we move on to focal, - and that is the amount of Zoom. - This also has a big impact on debt fulfilled for kit lenses like this, - where the aperture doesn't open that wide. - Zoom into at least 100 millimeter, - but preferably more if the lens will allow it for these slightly more expensive lenses. - Where the aperture opens quite wide soon to at least 75 or 85 millimeters, - the maximum on this particular lenses only 75. - The next thing we need to do is keep the subject quite a long distance from the background - . - Obviously, - if lot live lather had been standing right, - but a building there would be much more difficult to blow the background. - So you need to get the subject away from the background, - so give blowing a background to try, - go out and practice it. - You should see a big difference in the type of photos that you get. - That's all for now. - See you in the next film 17. Blur the background to isolate your subject (Compact Cameras): - Have you ever noticed how some subjects come pop right out of the image and look fantastic - ? - This could be achieved by great composition or light or with great use of color. - But by far the most popular way of doing it is to keep the subject really sharp and to blur - the background now or don't quite a simple thing to do. - To explain, - every aspect of it would book me down in technicalities when which I don't want to do so. - I'm going to keep it quite simple. - I prepared to version of this film because the technique is slightly different, - whether using an SLR or compact camera. - Now we're gonna try it with a calm with a compact. - Now, - with these type of canvas and also the bridge type cameras, - which are quite akin to the compact cameras, - it's a lot more difficult to blow the background, - and that's due to the physical size, - the small size of the sensor on its close proximity to the lens. - I don't really understand the physics of it, - but I do note it is quite difficult to blow the background using one of these cameras, - but it is possible Sorry about the fountain behind they are. - You can hear me. - OK, - so first of all, - I'm going to take a picture on all on a standard set in, - and we should see that everything is in focus. - That's quite a nice shot, - but let's see if we can improve it. - But below in the background Now I just need to change a couple of settings, - which I'll talk about in a moment. - Okay, - let's try it out again and you can see now that does look slightly better. - We can't get the background to blood because of the limitations of the camera, - but you still say it's a lot better. - So how did I achieve that? - Okay, - let's take a look at the actual set in. - Journeyed. - If you have a slightly better spec combat camera or possibly a bridge camera, - then you use the aperture priority mode. - Now this is sometimes a dial on the top of the camera. - What? - Maybe you can find it on the menus, - but you need to use the A mode, - and then you need to set the aperture to its wider set in. - That is, - you use the lowest number possible. - Alternatively, - if Babatunde polity means nothing to you. - Forget that completely and find your cameras seen Mose. - You might have to refer to the manual for this, - but quite often there's a dart on the top, - which just says SCN, - or maybe its hidden away in the menus set the scene motor portrayed. - This is normally a woman's head, - sometimes with a hat on. - Doing this will tell the camera to use the widest aperture possible. - The next step is to zoom in as much as you can but avoid the digital zoom to keep this - object quite a long distance from the background. - Obviously, - if lot live lather had been standing right, - but a building there would be much more difficult to blow the background. - So you need to get the subject away from the background. - So give blowing a background to try, - go out and practice it. - You should see a big difference in the type of photos that you get. - That's all for now. - See you in the next film 18. Don't let cluttered backgrounds ruin your portraits: - assuming you've got some nice light on the subject's face, - the next thing to consider is a background thing is a very simple tip, - but very obvious one, - and it is very important. - You must try to avoid cluttered backgrounds. - The last thing you want is a lamp post sticking out of somebody's head or a telegraph pole - or a tree. - They can really turn the photo into. - A nice portrayed into a snapshot we need to do is just move over a few feet or are subject - to move over. - You just need to be aware of it, - and it quite often just doesn't occur to people. - But they can be community. - Ruin the photo. - Now we're going to try and take a nice portrayed of young Catherine here sitting on a table - . - Now, - this could lead to a very cutter background. - If we weren't thinking about what we were doing, - we've got the we got the fence behind. - We've got the house, - we've got wheelie bins and we've got trees were belong to stick it out of them. - So a lot of people would just come along, - see a nice a nice setting with Catherine, - 10 on the table and just come along and take a snap. - Let's try taking one. - See how it looks. - Okay? - No, - that looks absolute rubbish. - Not only have we got the really clatter background, - but we've also got the sun on Katherine's face. - And that's why we can't have that that's covered in another video when I'm talking about - the lighting so we can ignore that for the moment. - So where do we find a better background? - It's not difficult just to move around A few feet had look around, - see what's available. - So we've got the We've got some blossom behind here. - So let's try Destroy. - Uh, - she's going to stay where she is, - and I'm going to just move around. - This is looking much better. - Now, - let's give this a try. - Yeah, - already. - That looks so much better than the previous to previous shop. - Where else can we take a photo with as a nice red daughter? - Let's see if we can truly give that a try. - Right. - Let's try one this way. - I'm gonna try one in the portrait mode. - Truly nice. - Notice how I've tried to avoid the green part of the doors. - Well, - if I take another one. - I've got a bit of green and doesn't look quite as good. - But those two photos look a lot better than the 1st 1 And it's just so easy to do. - Just move around a little bit. - Look, - look behind the subject. - Try and find something a little bit simpler. - A little bit cleaner. - You were great, - Catherine. - Come on. - I'm gonna take another shot of Catherine. - This looks fantastic. - It's gonna be brilliant. - Well, - I seem to ever really been beyond on offense and a blonde sticking out the back of it. - How did that happen? - All I'm doing, - I've just moved about four. - And now I've moved around a bit as well. - I see the difference in this. - She's looking great. - She's looking bored. - So we try another one guy. - That's incredible. - The difference in those two photos just by stepping round. - Just a couple of feet. - Come on, - let's try something else. 19. Improve your portraits using unusual backgrounds: - we're in a park with surrounded by trees and trees can make a nice background. - The problem is, - once you've taken one or two, - they start looking a little bit, - say may. - Also, - because of the tonal values, - the subject can quite often blend into the background. - And that's especially true if you take. - If you convert the photo to black and white, - see what I mean? - So I like to look around to find something a little bit more unusual, - a different type of background, - something maybe industrial or grungy or for kind of funky looking. - Obviously, - in a good environment, - they're harder to find. - But they are everywhere you look and don't forget. - You only need a small area behind somebody. - So we're going to look about in the park to see if we can find grungy type of background. - I know do our some. - So let's go and find him. - What worse possible place to take a picture, - but by a gents toilet? - It's horrendous, - isn't it? - Most people would just walk pass. - It's without giving it a second look unless they wanted to use the loo, - obviously, - But let's try one. - We've got a nice red door here. - Maybe we can get a nice shot with a funky background cut coming over here and stand on the - step. - I'm gonna come on this side. - That's great. - Turned to the side a little bit with your feet. - That's it. - Ok, - have a look of SIDS. - What's he doing? - Uh huh. - That was great. - The red door looks really nice, - but if you increase the contrast a little bit on your computer, - it's gonna make it look even better when you do have these kind of funky backgrounds. - It's great if you could make the subject laugh because it kind of goes with the environment - and goes with the background. - Looks a lot better. - What can we try now? - It's gonna have a look. - Yeah. - Okay, - so we've got a bloody old container now again. - You wouldn't get this a second thought normally, - but let's see how it looks as a background. - Okay. - Can jump up in the air for May. - Hey, - Uh huh. - Look A fantastic And as a side of fun ones look really nice against these type of - backgrounds. - Oh, - I almost forgot to show you this. - Here's one we made earlier with lava, - right We've got another. - What? - You could call a grim looking background. - Just a brick wall with graffiti on it. - But is it grim? - Don't forget, - we only need a small area to take a picture. - We can avoid the drainpipes, - weaken, - even avoid the graffiti. - If you wanted to know, - sometimes that couldn't give a nice kind of grungy look to the picture. - So let's try taking a photo now. - Uh huh. - Take a look at Said, - What's he doing? - Excellent. - Yeah, - that was great. - And if you make people laugh, - it really adds to the motion of the picture. - Onda again, - It kind of goes with the background. - What? - Come, - Katherine. - I think we finished. - Mr. - I just got enough something to eat. 20. Improve your portraits using nature's own abstract backgrounds: - in a previous video, - I showed you that instead of just taking photos against pretty flowers, - trees and shrubbery, - that you could also make use of slightly more unconventional backgrounds. - In fact, - I even took a portray against the door of a gents toilet. - But of course, - trees, - shrubbery and lovely blossom cannot great too. - Well, - it's summer here in the UK who, - though you may not know it from the cold temperature. - But in our garden. - We've got some great colors that I can use for portrayed backgrounds, - but rather have these colors of straight backgrounds. - I prefer to use them as a kind of patterned or textured background. - I'll show you what I mean. - So first of all, - I got to take a picture of Jane against this beautiful laburnum tree. - Now the camera is set to P mode. - The settings are not really anything special. - I've got an aperture of F eight. - I put the flash on the camera because I'm going to use a little bit of fill Flash. - We have live is nice, - but we don't really have any benefit of kind of top shade. - So this just would this fill Flash will just give a little sparkle to the eye. - There's a whole film coming up soon on using fill flash. - So there we go. - Move over this way a little bit change. - That's it. - Got bit further back, - actually. - Come over this way again. - That's it. - All right, - let's give that a go. - Yeah, - that shot looks quite nice, - doesn't it? - But really, - it's nothing special. - And in fact, - although the birth of her beautiful colors, - they're actually a little bit distracting. - What I'm aiming for is to try and get a kind of patterned, - textured kind of background. - So I'm going to open up the aperture two F two, - which will give me a shallow depth of field. - Andi, - I'm gonna ask Jane to step away from Lola Burnham to give. - Give me a better chance of blowing the background. - Wow, - that looks much better, - doesn't it? - The laburnum has just changed to a kind of abstract pattern on. - Our focus is definitely on Jane's gorgeous face, - lesser lover for this shot against the brightly colored shrub, - I need to get Jane Lover to make sure ahead his position against it. - That's what she's sitting down. - Give me a lovely lives mild dine Beautiful. - Another one? - Yeah, - I like that as well. - The colors look even brighter in the little Burnham, - but you know you can experiment. - Find different colors. - Autumn colors look fantastic, - too, - and finally, - we'll take one more short against this charity. - Unfortunately, - it's not quite as Jerry Color does. - It was about a week ago, - but you'll get the general idea. - Jane is standing quite away from it, - probably about seven feet from the from the tree. - I'm still F two, - and I've got a shutter speed of 1600 of a second still using the field flash. - Because, - as I said, - the sun is shining a little bit slightly. - There's no there's no top shade, - so that will just brighten up her eyes a little bit. - Andi, - smooth out some of the shadows. - Sorry, - just give that a try. - Yeah, - I think these are great. - I hope you agree. - It's so easy to do, - isn't it? - Just find yourself some lovely colors in the garden or park. - Use a wide aperture to get a shallow depth of field and put your subject a few feet away - from the background. - You'll get some beautiful portrait with that elusive wow factor. - But for now, 21. Flatter your individual subject with these full length posing tips: - when taking pictures of people. - Obviously, - you want them to look good, - and I want to look their best as well. - But when he comes to posing, - it's not so easy just to say Okay, - go and stand over there. - You need to make them look relaxed. - Andi, - make a nice poster that portrayed looks as good as possible. - No, - we're going to take some full length pictures of Emma here on first of all, - and I just stand over to decide about there. - That's fine. - Now when you ask people just to stand over there, - that's the first thing they'll do. - They'll just stand straight onto the camera, - maybe looking a little bit flat footed. - And that's possibly the worst kind of pose because if especially if somebody is a little - bit overweight. - Unlike Emma is nice and slim on myself, - with a perfect body way, - have an audience way, - want Teoh. - Everybody wants to look a little bit slimmer on, - so the first thing we want to do is turn people to decide time. - I just turned to decide slightly. - Now, - when you ask people to do that, - typically they'll just turn from the waist and we don't want that. - It all starts with the feet. - Really? - So we want to turn with the feet. - So it turned towards me with the feet about 45 degrees about there. - Now, - you may not be able to see this from that camera angle, - but she does now straightaway look a little bit slimmer. - I'm going to take a picture just to show that compared with the 1st 1 Now we can we find - this so it might look a little bit more relaxing, - a little bit more casual. - Now, - this is what I called a model pose, - and you'll see this in magazines every everywhere. - Models adopt this pose whenever somebody points a camera at them. - And the first thing we asked the subject to do is to put their weight on the leg further - swimming further from the camera. - Exactly. - And you see, - straight away, - she's got a nicer nighter shape. - Now just point the front foot slightly fall slightly forward from a and, - you see, - that looks a lot more relaxed now. - Maybe just put one hand in the pocket, - the other one on the on your thigh. - So let's take a picture now and compare that to the 1st 1 Yeah, - look at the difference in those two photos on what we can do now to be fine. - Opposed Further. - It's so ask your subject to actually push their bomb out towards the back a little bit just - to exaggerate the effect. - Lovely. - And also just till you had him in this way Slightly. - Now you can see that's created a kind of an s shape. - And this s shape is known to fashion photographers and your CIA order time in magazines. - And it's driven men wild throughout the ages. - So let's take another shot. - Compare this again. - That was great. - It looks a lot better than the first shot. - And it's really accentuated. - Are lovely shape. - Yeah, - uh, - another great full length pose for woman, - which works terrific if they're quite slim, - is this one? - Just put your legs further apart about shoulder height and now swivel one hip over to - decide. - Put with one hand on the hip. - Okay. - On the other hand, - just put the other hand on your thigh. - Let's try that Exactly right. - Even more with the hip. - That's great. - Okay, - Now we're going to try fallen post for a man that. - Generally speaking, - the more you show of somebody's body, - the harder it is to get a good pose. - So full length shots are a little bit more more tricky, - so it's worth taking a little bit more. - Time to prepare now straightaway of our spends Bent is to stand there, - and he's gone into a kind of flat footed stray on cyber. - Look, - let's take a picture now just to compare to the one at the end. - Now what you can do is just ask them to maybe move their legs further apart or feet further - apart. - I should say, - Andi, - that's a great immediately. - That's a great post, - and that's terrific as well. - For for teenagers to show a little bit of attitude, - let's dried up now. - Generally speaking, - men like to lean on things. - So Ben, - let's go. - But before you do that, - Ben, - how about the zoo land? - Oppose. - Men like to lean on things, - and it makes them look a little bit more relaxed. - So I've been having leaning against that. - Get the lamppost there, - maybe just cross the legs over and straight away. - You can see that does look a lot better. - A lot more relaxed. - Let's try that one. - Compare that to the first shot on is hardly any compassion. - Another one wilder guys lean in is to turn the mound. - So maybe have you back to the post. - Maybe put one leg up on the on the post. - You see, - it looks nice and relaxed. - A great look. - Impose. - Had a great looking guy. - Was it easy? - So there's a few four letter poses. - Go out and give it a try. - Have a little practice. - It's fun, - that's all for now. 22. Family or small group poses - Pt I Standing poses: - in this film, - I'm going to give you some tips on posing Now, - Generally speaking, - when you look about on the whereby magazines for opposing tips, - quite often you'll see that the images are mainly of individuals, - you know, - maybe more doors. - Oh, - a couple. - It's not often you actually see tips on opposing family groups. - So that's what we're going to do today. - We've got they on Jane and Tom and Ali here on, - uh, - we're gonna try out some some symposium. - We're going to start off with standing poses. - I find those a little bit more difficult, - to be honest. - And if you're not careful, - they can look a little bit mawr or a little bit too formal. - So you have to be careful to try and make the pose and look good. - And it makes all the difference in the picture. - You know, - if you do get a nice natural post, - it could just change the whole shape of the image or all together you probably won't - remember all these tips. - Actually, - they're going to be a lot of quick fire tips on as they say, - you probably won't remember them all, - so just pick out your three or four favorites at the end of the video. - I've got a little three before you, - which you can download on, - actually help you to remember some of these sits. - So let's get started for the 1st 1 We're just going to try a simple standing in a boat pose - . - Now. - You don't really want them standing flatfooted like that. - The best thing to do is first will put the boys. - We put the boys in the middle, - turned toward turn inwards towards each other. - Guys, - that's it. - Legs apart, - maybe. - Look good. - Giant, - you stand. - You do the model pose now. - So you're standing on your legs. - Put this away from the camera. - Perfect, - right. - You coming? - Nice and close. - Just maybe put your hands in your pockets. - I was just about to put his hand on his shoulder. - And if you do that again right, - what tends to happen is that hand looks like it's coming from nowhere. - Photographer sometimes called those alien hands, - so the best thing to do is just take your hands off. - Okay, - so let's try. - This shot is the 1st 1 Now, - if somebody would too small without Mike a great picture notice how I put them in the shade - and I've tried to avoid that white sky behind them. - Said Have got the trees behind them. - Let's try another simple one with the parent standing behind. - So if you go go behind there to stand behind Earlier on Jane, - you come in close now. - You have to be careful when you do something like this, - because obviously now you can't see very, - very well. - So, - like, - can you come in, - come into the middle? - Also, - you don't really want people's heads directly above another head. - That's another little little tip there. - So, - Jane, - coming on this one tiny bit. - But you come in but right turn towards me a little bit more. - That's good with being blown around here. - I hope you can hear me with the With all this wind like Tom, - you turn towards May put your legs apart. - Sharp bit of that bit of attitude that way. - Have the cap the other way because the cap is the cap is in front of race. - Fight. - Ali, - you pointed out you come towards me now with your feet. - That's it. - Past Better give that a try, - right coming into a little bit more. - I could, - of course, - have taken this shot. - And the previous one has fallen photos, - maybe in the portrait orientation. - But I just decided to go for more close up shots. - Another little trick you can do is to stagger people that that happened. - More clubs together. - So let's try that. - You go back a tiny bit. - Ali, - come over this way a bit. - Tom, - you come towards May. - Now, - Tom is gonna be the star in this picture. - Yeah, - actually, - your bit to bit too far away from each other. - Coming a bit closer. - That's great. - Just put your hands in your pockets. - Maybe you know someone. - Oh, - that's good. - One thing about this type of posing is it doesn't have that family friendly. - It's great for kind of bands, - for example, - when a CD cover or corporate type of shop. - But you know, - it can be good for families as well. - If they like that type of image just to quickly demonstrate variations on this post, - here's a couple of my studio photos. - This pose works very well if the people in the back lean against a wall, - and also, - if everybody adopts a different position and faces a different way. - In fact, - you can see the staggered effect a little bit more clearly in these shots than in the one. - I just took another good, - very relaxed type of poses when the family just walking along together. - And when I do the shot, - I normally get them to look at each other rather than the camera, - as he looks a little bit more natural. - Focusing can be a little bit tricky. - I use kind of a burst a burst mode with continuous focusing. - But if you camera doesn't have their just point the camera to a certain part of the ground - , - Andi or a certain part of the gum before them on path Bessie shatter on Dwight and then ask - him to walk and then click the shutter when I get to that point that you focused on. - So let's give it a try. - This is very much a trial and every type of post, - which is why I just took several photos hoping that at least one of them will have some - great expressions, - and I thought this one turned out pretty well. - If you've got a nearby wall or a tree that that can really help standing up hoses because - people tend to like to lean on things, - especially men. - So leaning against the tree, - notice how he's got his legs, - his legs crossed. - That's how we might stand if it was just waiting for the bus or just waiting for some - friends rather than just flat footed. - It's a bit more comfortable on, - uh, - Jane's adopted the model pose. - Tom's got his legs courses Well, - Andi always got one leg up, - one leg up that come quite often. - Look quite relaxed as well. - Only just maybe lean back a tiny bit better. - That looks good. - Let's give that a try. - It always helps if you keep people relax by chatting to them, - making them laugh. - And it doesn't matter if you even if you look a little bit city yourself as long as you get - the picture. - A couple of others more points. - Notice joins hand flat on Ray's chest. - Now that can only obviously work if the man is standing fighting the woman who shows a - little tenderness. - Also, - they're all standing differently again, - which looks kind of cool. - I think, - on one very important point, - I forgot to mention so far noticed that they will have their weight on one leg or the other - . - That makes the post look much more natural and relaxed. - By the way, - I could have just as easily made this into a square photo. - But generally speaking, - if there's a nice, - clean looking background, - my own personal preferences to show it off, - you don't have to agree with me. - You might prefer to square one another. - Good old favor is the piggy back. - So we'll get Tom on Jane's back on Da Ali on on my back. - OK, - guys, - jump on. - But I'm when you on get a nice and safe I want when you I can't see you, - that's great. - You have to get people quite close together, - and you also have to make sure the person on the back sticks his head out so that you could - see them. - Thanks, - guys. - So that's the end of the standing poses. - I hope you found them useful. - Next time you out with family or group of friends, - have a go. - Give it, - give it a try, - have a practice and see how you get on a couple of really important points to remember - don't have people standing flatfooted in front of you put, - get them to put their weight on one leg or the other. - It just looks a lot more relaxed. - Also, - everybody wants to look a little bit slimmer. - So for most people, - unless they're super slim already, - most people you want to turn turn them to the side, - and that will slim them down. - If they're slightly overweight, - or maybe have a bit of a potbelly, - just tuck them in behind another member of the group. - And that way your flatter them. - They'll look a lot better elsewhere On this page, - you'll find a link to a fire, - which even download, - which is a kind of crib. - She has the photos at a description of each pose underneath the photo on. - Hopefully you'll be able to put that off and take it out with you, - and it should help buffing out 23. Family or small group poses - Pt II Seated poses: - Generally speaking, - I find seating poses a lot easier to do on. - One of the reasons for that is that the images look best if people's heads of different - heights, - and that's more difficult to do when they're standing up. - Obviously, - it depends out all people are on where their heads are in relation to each other. - But when their seat is, - it's easier to get their heads of different heights. - It does look more interesting, - so let's try another post, - and we also want to get their heads quite close together. - That's another little trick that I use quite often. - So Jane Jane's almost in the in the right position here, - joining if you just talk about, - keep that leg tucked under and push that leg out a little bit. - But for tower, - right, - you come in closer and just tuck your legs, - just talking legs behind you like that. - That's it. - Now they usually raise head is just slightly higher than Jane's. - If they was a lot shorter and I was in the studio like port, - a little cushion underneath him to raise him up a little bit now that's made tonight. - James made a nice lap there on. - If you got a child or real youngster, - they can sit there. - But Tom's Tom Books will fit in now thinks they're talking. - You going? - Oh, - Mom. - Now if he sits, - if he has his legs that way, - his face is going to cover up Jane. - So it's best of his legs of this way, - and he's bought Is over there that keeps his face away on Only if you can come in now and - just come over the top here from the back. - That's it. - Nearly an excellent right now you see if Tom would look forward a bit second, - you can see we've got this great kind of diagonal line of the faces on. - We've got different shapes being made by by the heads, - and that makes the picture look a bit more interesting. - So let's take a shot. - That's right. - Told me he only has Ah, - going out of your eyes a little bit there. - I have that trouble sometimes myself. - What? - Yeah, - that looks pretty nice, - but actually, - now that I don't back up there, - I'm not so sure about the position of Tom's legs. - Maybe he was a little bit too big to sit on his mom's lap. - It may have looked better, - I think, - if he was sitting up a little or maybe stretching in one of his legs out a bit. - But generally speaking, - that's a great post to use while you come on the front. - Now, - maybe sit over here, - Dexter Tom. - I just sit put your bombing there kind. - Sit with your legs. - No, - no. - Put your legs over the other side. - I am like I am. - Sometimes it's easier to show people what that I just told him. - That's it. - That's good, - except that you're not completely covering up, - Tom. - So I just shift over this way and bring your bring your leg up. - We don't really want a leg sticking out. - Anything sticking out the front of the picture is going to look a lot larger. - We just hired you arm leave on the back. - Let's see, - I just looked notice in this post how everyone is turned to decide. - That's generally part of my philosophy when posing, - but also there turned so that their heads are close together. - For example, - with Ali had stayed in this position, - he's head would have been too far away with a big gap between him and Tom. - Also, - with Ryan, - all his legs turned outwards, - I can crop the image into more of a letterbox shape, - which has a bit of interest. - Here's another fun one we control. - I'm not appropriate for every family, - but some people might like them if they're up for it. - You're gonna lay down on your fun with your arms folded. - Only you guy next to him taught me. - No. - Let's think, - Tom, - You jump on his back when he got really close. - That's it, - then late. - You're gonna, - like, - completely flat on his back. - I'm glad, - J. - And you're gonna lie on top of you need to bring your head right up right up here. - Coming right up to where my hand is. - That's it. - Only you need to bring yourself up. - Okay. - Fold your arms and lift yourself up. - Now we've got Jane and Tom's head directly above raise and all it. - So we don't want one heads together. - I think you know, - just Jane and Tom. - But you had together. - Yeah, - this is quite a fun pose and can look great. - But as I said, - it's not suitable for families that have to be up for it. - A couple of points about this pose put the heaviest or strongest people on the bottom for - obvious reasons, - have their arms folded, - lifting their heads and put them very close so that the people on the top don't fall - through the middle. - People on the top should also put their heads close together and forward. - If there's five people in the group, - put three on the bottom and two on the top in this pose. - Way is kind of old sitting down, - but he rolled onto his hip and he's got his leg up his arm over chains line on a fun on her - head and shoulders through Ray's arm. - It's just to come quite a bit forward. - Not every family is up for this type of photo, - but the blame Jane and only and Tom about Tom, - you're gonna come on. - She has made a nice lap for, - Young said, - visiting. - So you're saying there, - Tom, - make sure he's legs fights this way so that his head is he's heads not covering up by on - then Ali, - let's think was really only can use. - It might be cross legged in front of that's like there. - Well, - he could come down the back like we did before, - so that's another option. - And maybe we'll give that a try in a minute. - Just sit cross legged. - Become what? - Into into this. - That's it. - Let's see how this looks. - Table only Put your legs out like this like I'm doing now, - 1 to 1 side and then lean into Tom because his head was a bit far, - far away from top. - That's better. - I didn't lean into him. - That's perfect. - We could also try again with only maybe around the back, - while you come on the back and let's try a variation joining if you swivel your legs around - to wear my feet are so you say where you start your new one. - Just swivel around. - That's it. - A bit more. - But if you don't mind me touching your feet, - I'm gonna lift your legs up and cross them over. - That's it. - What? - You come out run run from the back. - But that's good. - That's a very feminine type of pose for Giant. - When trying this post position, - the dad or the man first make sure he's rolled onto his hip rather than sitting flat on his - bum. - Otherwise, - the whole thing tends to fall apart on his body, - will be facing to the side, - and you won't be able to get the woman in under his arm. - He'll probably have to lift his arm up to let it through. - Anyway. - The person of the back, - in this case, - Holly, - should have come in close and lean right in. - As with all of these poses on the ground, - the camera position needs to be very low. - Don't make the mistake of remaining standing. - By the way, - you may be wondering why have the flash on my camera? - It's because the light was fading a little when I wanted the family to look nice and right - in their photos. - It's called Filin Flush, - and I'll be doing a film about it shortly for this post. - We're using this this well on quite often, - Not like to use. - Use a chair or a low stool of some kind, - but this is about all we've got for the moment. - So honest sitting on a vow notice that James just gonna sat, - uh, - sat down just leaning on, - leaning on the on. - We go over the heads of different heights of hearts again. - Hard sigh, - Tom, - come around and put your head in front of all his leg a bit closer, - and that's a hard his leg. - This one looks OK, - but to be honest, - it hasn't quite worked. - Why I wanted it. - What bothers me is a position of James arm. - It looks a bit awkward. - Maybe the well was a little bit too high. - This pose is based around the man or husband sitting on a low chair or stall on a woman - seated sideways, - leaning on one of his legs. - Other members of the family could be position around them, - a different heights. - Now here's a couple of studio examples would show what was actually trying to achieve both - women's positions here. - Look good but noticed. - Await a woman at the top is sitting rolled onto a hip. - Not that it matters in this case, - but sitting like that can reduce the bomb, - flattening out and looking larger than it is. - No one wants that, - by the way, - if there's no baby or child in front of the man, - get into closes legs a little, - turn to the side and put one foot in front of the other otherwise is a danger. - You're going to be peering into his nether regions. - Benches provide good opportunities proposing to, - but quite often when people don't oppose friends or family group on the bench, - they're just sitting down like this. - But there's much better ways you can do things. - So let's try like you sit up, - stand up and sit on the arm of the bench, - facing in May and put your feet on the bench. - Okay, - Tom, - you get up. - Stand up there, - Jay Newton, - come around on. - You're going to sit on the on the back. - That's a giant perfect put one leg in front, - the other that normally looks a little bit better as well. - Andi, - Adi, - you're going to sit this way with your feet up on your legs up. - Charles is a very tight so you need to pull him up now. - The light's not very good here, - and I'm shooting against a sky. - I wouldn't normally take a shot from this position, - but we're talking about opposing here and not the light in. - So let's give it a try. - Yeah, - I like that. - When using a bench, - get someone to sit on the arm with another person seated slightly sideways on the bench - like Jane is here. - People can sit on the back of the bench to maybe somebody else sideways, - like Holly. - If there's room taller people can go behind to by positioning people on different levels, - it's much easier to get their heads at different heights. - Try not to get one head directly above another, - if you can help it. - Another thing you can do is have some people stand in and some people sitting all close - together on that. - Come what will. - As long as you get you get the heights, - right? - So we've got railing against the tree. - Jane's sitting kind of on her hip in between race legs, - leaning on his knee. - Come bit lover join. - That's it, - leading to a modern. - That's it. - Why all is the back, - but he's quite far forward. - Tom looks good, - but he's knee support. - Maybe put your leg up on the 20 other leg because you covering up dead. - We've got also got this leaf in a way which will put out come on the front a bit more than - Tom because you're going to cover that up. - That's it. - How would I look up. - That's it. - That was quite relaxed and natural. - Order. - Um, - giant coming even. - Law, - I want to get your head even even lower than it is not. - Support your bum out this way. - That's it? - Yeah, - right. - And only you coming a bit closer. - Oh, - yeah. - I really love that one. - You saw the why I built up the boat so I won't go through it again. - But what you didn't see was the fact that for each of these poses, - I took four or five shots. - So I can then choose the one with the best expressions. - It's important you don't just take one photo. - Quite often, - somebody blinks or looks away. - So give yourself the best chance of getting a great image. - Also, - take one or two photos with a family looking at each other rather than the camera. - That could also look great. - So that's about it. - You enjoyed this film on find no ships. - Useful posing can be quite difficult to remember, - So it's probably best if you just take a few of your favorites and go out and practice - those. - I've also put together a set of images of some as thumbnails that you couldn't print off - and take out with you. - Wherever you go, - you'll find that link lower down on the page. - So that's all for now. - See you in the next film. 24. Individual natural and relaxed female poses: - in this film, - I want to demonstrate some relaxed and natural poses for women I would not want to try and - avoid is the typical model model poses that you see in magazines things like things like - this. - Ah, - a little bit too exaggerated. - This film is going to be nice and relaxed photos that you can take your girlfriend or your - mom or sister or men, - members of you, - of your of your family. - Now, - typically, - if you're just standing straight on to the camera, - it doesn't really do much for you for your subject, - you know, - a bit flat footed. - Most of the time you want to turn people to the side, - so that's what we're going to do in this first pose. - Love has got a top lobby. - Toby has ah, - weight on the leg, - further away from the camera, - and she's bought another leg in front of it. - She got a hand in the back, - pockets on both arms. - They're behind her. - Let's take a shot this way and see how it looks. - Quite an elegant pose, - This one, - the hands in the back pockets throws the shoulders back and puts the buster. - Make sure that the front leg comes across the other one, - a slight variation on that pose. - Standing in more or less the same position. - Put one hand on the hip. - On the other hand, - run the hand. - Food, - food, - hair. - I like to do that with my hair sometimes, - but it doesn't quite have the same effect. - Let's try to shop. - Turn slightly to the side, - hand on hip and hand food hair. - Make sure she doesn't throw her head too far back as a hand goes through her hair in this - next one is going to turn to the side of a bit weight on the leg, - further away from the camera and you wanna folder arms. - When, - uh, - when a woman has a weight on the leg further away from the camera, - they can exaggerate it a little bit of a one by pushing their bum back? - No, - quite as much. - Is that all right? - Ignoring the popular belief that body language rules say that crossing the arms is putting - up a barrier? - I think this party's looks quite good. - No deterrent sideways and crossed legs, - which will help to slim down the subject, - you know, - despite what I said earlier on in this post, - Tory is going to stand straight onto the camera, - not something you want to do for everybody. - But you can what will? - Sometimes. - But you don't really want the model to be standing flatfooted. - So she's put her hands in the pockets there. - If you put you legs a little bit of park and then just move the hip over to one side and - then that creates a nice kind of what the photographers called in that shape, - especially if you're just till you head that way. - You see, - it's made a nice kind of shape. - Let's take a picture of this. - Actually, - I just made a mistake there to create the S shape. - The head should be tilted slightly in the same direction as the hip. - Like in this photo, - make sure that the legs are about shoulder length apart on. - Try exaggerating the hip movement, - but not too much. - This pose is also great for teenagers, - who would like to show a bit of attitude for this next post. - We're gonna turn Tory all the way around. - She got almost got back to us, - kind of standing about 45 degrees and walk away from the camera and then looking back into - the camera position. - Let's give that a try. - Don't turn the body too far around just about 30 45 degrees. - Otherwise you'll be craning her neck. - It also helps here that Toya's long hair to cover any creases in the neck that occur when - turning their head around. - So far, - so watch out for those, - remember that the subject wants to look good. - Well, - don't really. - Let's take a look at some sitting down poses. - Toby is you kind of older on load onto a hit. - Got one leg behind the other one on. - She's got harm over a Let's take a shot here, - see how it looks. - She's got a croquet players behind her, - if you can. - You do need to have the croquet players in the background. - It is important that your subject rolls onto a hip rather than sitting flat on a bum. - Actually, - I made a slight mistake here and allow Tory to Tucker front leg into far. - So now it looks just like a stump. - I should have asked her to swing her legs around a little so that we could see a foot in - this post op is sitting down, - she's more that's facing the camera. - She's got one leg tucked behind the names. - You're gonna bring the other leg up. - I put my arms around that. - It's almost like giving yourself a little cuddle, - and I think a little better if you tilt your head to one side, - take a shot there, - see how it looks. - It's only really her lower body that's turned to one side. - She's twisted so that her head and shoulders of Frank's in the camera. - By the way, - notice how I get down to eye level to take these seated poses in this party's targets - turned completely to decide. - Andi. - She's put one leg up. - The nearest leg is brought up quite a bit higher than the other one and to arm a out to the - side. - Now, - I don't really like this hand is, - so I think I'll ask her to just run it through the air as I as I take the shop, - let's see how that looks. - Yeah, - this pose definitely looks better. - If one leg is right is higher than the other. - The hand through her hair does admittedly look more of a model typos, - So just ask your subject to hide a hand in the lap. - You if you're not so keen on that style, - there's a nice feminine pose that I like to use in the studio. - But it's great for youngsters here. - A young female lying on the phone. - Bring the defeat up in the back and cross them over on Brother, - have their hands out to the front, - just bring the hands up to the side of the face or possibly even fold the arms. - But I think if you bring your hands up to decided a face, - it's quite nice. - Make sure that, - like here, - your subject is lying at angle rather than straight. - This post works really well with young girls, - but I feel to be honest that Toys boots disappointing this image slightly. - The Post does look better with bare feet or at least much lighter footwear. - Unfortunately, - we run out of time in the park lovers modeling for us for the rest of the film. - Now we're going to try a few more poses. - It's great if you can lean against something as well. - It helps you to kind of relax and put you into a relaxed kind of stance. - So love. - If you just lean against the post. - He also looks good if you maybe put your leg up on the wall or post, - or just cross your legs over. - Probably easier. - That's it. - Maybe just fold your arms eloquently. - Looks nice. - Let's try that. - This is a nice, - easy, - relaxed pose. - Definitely looks better with one leg up on the wall or post what just crossed over, - like in this photo. - So let's try another pose on a bench rather than just sitting straight on to the camera. - It can look good if you just. - If you just turn to the side and put your feet up on the bench, - let's try that. - That looks great. - Notice our legs are different. - Different heights as well, - actually, - just being your foot up slightly slightly. - But the hand should really look. - The hand will probably better inside inside your lap. - I think here or visit a little bit so I can't see it from underneath. - I could have asked lover to place of my arm along the length of the back of the bench. - I think that would have looked good, - too. - If the bench has arms on the sides. - You can try sitting your subject on one of them again turned to decide with the feet up on - the bench, - legs of different levels and finally for our last pose. - And I simple one looking straight on to the camera, - especially if your subject is quite slim when you do this because, - generally speaking, - you know when you turn, - turn them to decide. - But love is beautiful and slim, - so I will give it a try. - So that was just being one hand across the other hand. - Come up, - maybe to decide, - and just till your head slightly the other way. - No, - that's quite nice. - Nice and relax. - Let's give that a try. - Our final poses another relaxed looking one. - A variation on this would be would have been to use the upper arm to maybe fiddle with the - hair or necklace. - So that's it on female posing. - Have you enjoyed those tips on found them useful? - There's a Crip she, - which has got every single post which which I have shown you lover down on the page, - and you can download the pdf file and take it out with you and use it to practice Bye for - now, 25. Ideas for photographing children, 4-6 months old: taking pictures of Children isn't that difficult, but it can be quite hard to get photos. A look really great. There's all different types of problems. For example, toddlers, he won't stay still for a minute. Or moody teenagers who have decided it's uncalled at. The photo taken. Elizabeth here is six months old on what I want to do is try and take some photos, which is nice and simple. Nice light on her face at a nice, Uncluttered background. She is. Uh huh. Many parents for the child on their laptops, fighters taken on because of current is so close he causes a clattered type of back. I'm gonna show you two or three ways of taking a specific type of shop. Now, one of the problems are gonna have is once I put Elizabeth down, I want to work really quickly before she gets too fed up agencies. You getting a little bit grumpy now? She didn't probably needs a feed, so I'm gonna hand it back to a mom and explain the steps to you separately. Here we go. Come on in. Back to Mommy. Now. This is a very specific type of sharp, but it normally works great as long as a behaviors in a reasonable mode. The most important thing is where is the location? Where do we actually put the baby? It's no good putting her in the middle of the room because we need some nice alive. Now we could take her outside, but the sky is quite dry. It Andi, she'll be lying on her back, and it could cause a discomfort looking up at the sky. So I like to use a window now the best type of window to uses a patio doors or French window that goes all the way down to the ground, because we're going to be laying the baby on a back on the ground. If you haven't got this supper window that just use a standard window but maybe raised a baby up a little bit, Otherwise their face will be a little bit too dark. Next, you need to find a blanket, a nice, cozy, warm top of fleecy blanket because the baby will be lying on this. It's best if you use a light color as well. That works best within I going to undress the baby down to a nap. John to the Napoli. So she's got a bear, a bear top that will not normally look, look great. What? This is very important. We're going to lay it down on the blanket on her back. So she is going to be facing upwards. But her head is going to be towards the window on a feet, pointing into the room. That's very important because the light we want the light to come from above if we turn it the other way. So her feet towards the window, the light will be coming from underneath, and that causes strange shadows on the face. Next, I'm going to take the blanket and just pull it over her nappy just to hide the Napoli and make the picture look better. The Babys loved this position. They can kick and move around and looking up at you, and so they normally reasonably happy. I'm going to be taking a picture from above. So I'm going to stand on a chair. State safety is obviously really important here. You have to make sure you've got a good strong chair or stool to stand on and keep your balance so that you make sure you don't fall. That's obviously really important. Now we come to the camera and it's settings. And for this type of photo, it really doesn't matter whether you use a combat camera or in SLR. I'm going to be using a compact camera just to prove to you that it can't be done. Now. The first thing you want to do is to turn the flash off. That's because we want to use the natural light coming in from the window. Next, you want to move the I. So up to about 400 maybe 100. Next, you want to zoom in it. It'll so you don't get the ground outside of the blanket inside the flame. You also want 1/2 pressure shot are waiting for the baby's great expression. Now, if you're not sure about any of those topics, I so flash or half pressing the shutter. There are films on those subjects, and there's a link to the films on this page. I'm gonna be taking quite a few photos. There's no point in just taking one shot and hoping for the best. Take about a dozen photos. Andi, just wait for that great expression. Now if all of this seems like a lot of messing around. It really is easy to do, and you can get fantastic results. So let's give it a go. There she is. She's lying on a blanket. It's great if you could have a little toy next year to make a laugh. Or maybe the mom who she is, it is about. I see hell is about No, that's cool. Just yeah, look at that. That is a lovely photo, and the baby's got a wonderful expression. Her mom absolutely loves it. Notice how zoomed in slightly so that I didn't get the ground outside of them. Blanket in the fine. One other thing. Remember how I said about having the camera in landscape orientation? That's because quite often the babys put their harms out, and if you have the camera the other way around, you're in danger of chopping off the arms or the hands and you don't want to do that. And now, on to the next photo and just like before, I'm going to be looking for the best possible light. There's no point in putting the baby in the middle of the room somewhere on just turned in a flash on, you'll just end up with a snapshot. So this time I'm going to open the back doors and use top shade. And there's a link to a film on top shade lower down on this page. It's a great technique and will give us a beautiful light on the baby's face. We're going to lay the blanket down again, but this time put a couple of pillows underneath on the baby is going to be lying on a fun leaning on the pillows. Now she needs to be right up to the front of the blanket so that her head is raised up on. This is suitable for Children from about four months old, as soon as they can hold their head up. As far as the cameras concerned, you can use either a combat camera or in SLR. But I'm going to be using an SLR with a wide aperture to blur the background a little bit. Also, if you're using a light blanket like I've been doing, then you'll probably need to lighten up the photo, and you can use exposure compensation for this. There's a link to that subject. Lower down on this page, In fact, that applies to the first film as well. Don't forget to turn your flash off. You need to get down quite low to about the baby's eye level. Maybe just slightly higher on and just take loads of photos. Don't just take one shot. You're looking for the best photo with a great expression. Keep your finger half test on the shutter and wait and wait until you see a great expression from the baby. Another good tip is to have the parent or parents next year talking to the baby, trying to make you laugh. Okay, lets see how we get on. There's a birth, people. Yeah, I see. You have to take quite a lot of photos until you get a nice expression. Yeah, people. Uh huh. Yeah, that's a great photo. I love that. As does our mom. Notice how I've raised the camera and go a little bit in that final short just to encompass the baby's head within the blanket, and it separates her hair from the background. Anyway, that's all for now. I hope you enjoy the tips more to come on. Taking pictures of Children in future films 26. Ideas for photographing children, 9-12 months old: in the previous film on taking pictures of Children. I showed you some tips for taking a couple of specific type of photos. This film is going to be a more general one, with just in various tips and tricks for taking great photos of Children when they're sitting up or calling around. Here's Elizabeth again. Now she's not months old now and she go just She's actually a model for George ASDA. That's the clothing branch of is one of the photos. Now my property is to get great light on her face and to have a nice, Uncluttered background and to get some great expressions. Bomber. So first of all, let's just talk about the life we could go out in the garden. It's a little bit cold, so I'll try and take some indoors. I think now it's best if I can use the equivalent of top shade by just putting goodbye window. Maybe opening the door, getting a great light on a face. It's no good just to put her in the middle of the room and use Flash. The next thing we want is an Uncluttered background on. You don't want the baby on somebody else's lap where their destruction. So you do also don't want, say, the TV in the background or dirty plates or loaded toys scattered around. So we're looking for a nice, clean background, and that war allowed a photo to be a little bit more creative and not look like a snapshot . Yes, we will. So I'm going to talk about now. That's the settings of the camera. So let's just put this down for a moment by So what settings them and I'm going to use on the camera. Well, first of all, I'm going to choose a medium type of lens. I don't want to use a wide angle as that will distort the feet. Babies features a little bit, and I don't really want to use large telephoto because that's going to be hard to keep it to keep the camera, still not shake it, so to reduce movement blood. So I'm just This is actually a nice, simple prime lens. It doesn't even zoom, and this is about 50 moot 50 millimeter lens. The next thing I'm going to do is use aperture priority. Andi, keep the attitude about F four if she starts moving about a little bit. I'll keep it f four. But if he's nice and still I may change the attitude to have 2.8 to get more the blood background. If you're using a compact camera, then I suggest you use the portrait setting on that will give you what a wired to aperture and allow the background to go a little bit blurry. Also, as we're gonna be shooting inside, I'm gonna using that I so of about 4 to 600 as well by window. That should be okay, so let's give it a go. Okay? Just to get some great light. All I've done is I've just opened the door and they're Elizabeth is going to call about in this area here. Now. One very important point is to get down to the same I level as a baby. You don't really want to be taking the photo from too far above the eye level. So let's have a go now. Okay. Five away. It's gonna she probably be calling towards make she comes and she stopped. It's about the great thing about this is she's got a lovely expression that she's Kylie's coming towards me and her dad is actually taking the film. And so she's She's looking at him and feeling happy. Uh huh. That's a lovely expressions. The other thing we can try has taken Elizabeth in a high chair. On the advantage of this is we've got nice background here on so we can get rid of any distracting backgrounds. Now, the windows over there. So I'm gonna turn it toward Ally. You can see you can watch See the light change on her face as I turn around, and I'm gonna go just over here. Try getting a shot of her. Okay? Yes, about is a birth there's about. That's nice. Yes. And I should look at the light on her face and notice how otherwise have got nice catch light in them. The nice and sparkly. Another idea is to get the baby quite high up, maybe on a so far, on a on a table. But obviously, you have to be really careful that she's not gonna fall off. So you need somebody close by just in case. Also, we've chosen the table here by window. So we've got some really lovely light on a nice clear background. One thing I forgot to mention before is that to get some really nice expressions in a baby . It's great to have a parent behind you or nearby, just trying to make them laugh. And we've got a mum down here already to make a laugh. Okay, let's give it a try. Hopefully, she'll court of all these toys here. Okay. Oh, that was beautiful. The mom was down there making a lot, and you can see the great expression. Let's hope I got that one other thing I've been doing to get some of these great expressions is the half. Press the shutter on, hold my finger there and wait for the lovely smile to materialize. Now there's more information about the half press of the shut up. Lower down on this page, you'll find a link to the film. So what we're gonna try and now is Teoh Put Elizabeth on her dad's back on his shoulders on , But you should make a laugh and we should get some great shots. Let's give their joy. Lawrence put on the shoulders and we got oh, is a as well pants up and down a bit zones. We got a little arch of the back here, and I just moved changing the angle. So the art is around her head, and that will give us a nice fame within the fame. Elizabeth. He's not looking this way, but I'm waiting now. We've got a hand in the mouth and I usually prefer it when the baby doesn't have the hand in the mouth. I'm gonna take it out here. Probably start screaming Who? Oh, a lovely smile. So that's about it. You would have noticed. I did take a lot of photos, but you do need to do that to get one or two really great photos. Also, I did, verily angle slightly to try and vary the shots as well. Some close ups, some of whole body while she was calling anyway. Have you enjoyed the film? That's all for now.